| As the only ancient drama which is still active on the stage, Chinese Opera has formed a set of unique aesthetic system under Chinese classical aesthetics. Based on the expression mode of "Represent-Impressionistic", it organically combines many forms of art including literature, music, dance, painting, performance, etc., and finally consolidates all of them into the most important category of Chinese classical aesthetics:the Artistic Conception; conveying poetry beauty implicitly. In twentieth Century Chinese and Western, these two kinds of equally powerful theatrical aesthetics collide with sparks. To Chinese Opera, drama brings in the modern ideology. To drama, Chinese Opera is both nutrients and opportunity to make changes. On Chinese theatrical stage, Chinese Opera and Western Dramatic Arts influence each other and develop together. The attempt of localizing drama is always in progress. In the future development of Chinese drama, how to absorb the experience from Chinese Opera, how will the drama truly integrated as part of the local culture, and form an ethnologic drama culture system which can be accepted by the world is a topic that is very worthy to investigate.Tian Qinxin is one of the Chinese represent directors for drama in the new century. By the appearances of her dramatic works, we can consider her as a typical representative who creates under the both influence of eastern and western theatrical aesthetics. No matter dramatic literature, performers or stage design, Tian makes "poetic style" as the standard. Her works evolve around the shaping of roles and emotional expression as the center to create artistic conception and then pass emotions to the audience, and ultimately achieve the purpose to really impress the audience.Firstly, to theater literature.Tian uses the way how language expresses in Chinese Opera in modern drama. In her works, many actors have drifted away from the roles to play monologues. These monologues are integrated in the story showing feelings and changes of the roles when they are under different environmental conditions. In Orphan from the Zhao Family and Sturm und Drang Tian use a traditional preforming way in Chinese Opera named "Chime In", which enhances the effect of the expression of the heroes.In Tian’s works the language is very poetic. Poetic language is not only elegant and beautiful, but also the multiple meanings in the seemingly simple lines play an important role in shaping the character, and make the works more profound as well. The representative work is The Broken Wrist.Tian also does other experiments to localizing drama, for example, use ancient Chinese in the lines. However, this test may causes difficulties for the audience in understanding the lines during the show. And the imbalances between modern Chinese and ancient Chinese is likely to cause the audience’s resentment which should draws the author’s attention.Secondly, to stage performances.Tian pays special attention to use actors’body language to express her work. The design of actors’ body language is based on Chinese Opera programs, absorbing the modern Western expression, too. She tries to convey more information that the lines cannot express and enhance the audience’s experience of these works. Tian uses body system in Chinese Opera and other classical theaters in her drama works. These languages have been well known to the audience. For example, The Broken Wrist and Sturm und Drang. Also her clever use of everyday actions shows up the characters’inner activities, like Red Rose and White Rose. In Life and Death Tian uses some exaggerated dramatic actions which creates contemporary styling. It infected the audience through the "attractive image and fanatical attitude". Even her Kunqu Opera work1699·Peach Blossom Fan, Tian make the body performance more refined and restored some traditional. She fixes some old original content according to the modern aesthetic too.Thirdly, to stage design.Tian dramatic works made a considerable achievement on the stage design. She always adheres to base on Chinese classical aesthetics and modern technology, keep an appropriate and simple style, never to grandstand. Her most outstanding achievements including two points:She keeps a balance between realistic and impressionistic; and she uses stage design to decide how to narrate. In Tian’s works, she has a favor in Chinese painting. Whether it is modernism or realism, she can use Chinese painting into the stage designs to express the theme of the works perfectly.Finally, to theme sentiment.So far most of Tian’s theater productions are tragedies. She particularly gives prominence to "human"(including the roles and the audience).All her processing methods are focus on the shaping of roles and emotional expression. In her tragedies there are people in tragic character and tragic environment too. By analyzing and uncovering human, Tian shows her thinking about anima and life.As a director of the National Theatre, Tian creates large-scale theaters mostly. Her works have made a really good result at the box office in today’s recession. It is because of the audience’s approval in the final analysis. Throughout her dramatic works in this decade, Tian adheres to the spirit of Chinese classical aesthetics pursuing of "Chinese-style" drama. She uses a poetic elegance to confront reality impetuous from dramatic literature, stage performances and stage design, etc. Her works have always impressed the audience by the profound connotation and touching performances; and the interaction between audience and creators make remarkable performing results. When the creators respect the audience, and always concerned about the experience and the harvest of the audience, the audience will naturally feedback and love them. As a young director, Tian still in her rising phase of the development. Her creativity and directed skills will continue to mature and develop. We look forward to her continuing dedication of excellent works for Chinese drama stage, and hope her to make outstanding contributions to the "Chinese-style" drama. |
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