The Practice Of Modern Theatre

Tian Qinxin, a female director, has both a unique women’s artistic sensitivity and a broad international perspective,develops her distinctive personal style and acquires superb artistic achievements during the creation of her own dramas in a time when Chinese traditional drama is declining.The first is the persistent recourse to the dramatic spirit, and one of specific performance is a reflection of the soul of the character. Tian Qinxin dramatic works presented the three-dimensional characters, in the tracing of human nature, highlighting the unique vitality of the arts, this is the core of the development of modern drama; it carry forward to the traditional culture. Tian Qinxin theater creation have cherished the Chinese cultural tradition and anatomical characters reveals the essence of traditional Chinese culture, her works embodies the distinctive Chinese characteristics.Secondly, she reinterpreted the classical texts, in this process, the dramatic works reflected a strong sense of modern re-interpretation and dramatic expression in a modern perspective and the emotional power of the female. It reflected her distinctive creative tendencies.Furthermore, the theatrical stage of Tian Qinxin filled with the rich poetic atmosphere, the performance is the mass display of poetic imagery. the emotional temperature in the construction of the system were also reasonable control, it reached the art realm of dramatic poetry.Finally, she walk in the traditional and the modern, two together, the use of traditional Chinese art form and internalization to stage works combined with modern techniques, completed the director aesthetic pursuit, and she established a distinctive style of traditional Chinese aesthetics.In short, the Tian Qinxin is a representative of the cutting-edge theater director, director creative set the common of times and her own personality in one, and profound traditional Chinese culture heritage is a source of important art to her. She interpret the pursuit to modern drama, extract the essence of classical aesthetics from the traditional Chinese art form, and inject it into its own director art and director creation.This is the return to the theatre ontology.