The Blending Of Chinese Traditional And Modern Aesthetic

As one of the most active drama directors, Tian Qinxin gradually forms her own art of directing by adapting classic contemporary literature into play on stage. During the ten years exploration, Tian devoted herself to inheriting the aesthetic and ethos of Chinese tradition. At the same time, she tried to blend the tradition and western modern drama aesthetic, in order to explore the inner word and spiritual dilemma of modern people. Every one of her works showed her attempt. The area that Tian explored is just the most important question for the Chinese drama artists, which is the blending of the Chinese traditional and modern aesthetic. Tian’s play has an amazing presentation on time and space, also in the motion model area. The crossing space and time, the Chinese traditional opera motion and modern dance make her stage very charming. As the part of theme and style, Tian made her best to persist the spirit of original works and link it into the modern spirit life of the people in the society. All these features make her own style, which can be an example for the blending of national and modern drama.This essay will analyze the blending of national and modern drama aesthetic in Tian Qinxin’s play in three different parts. In the second chapter, the construction of narrative space and time: the mixture of Chinese traditional opera, the Brecht’s theory of narrative play, film signifying and montage. The third chapter, the art of body language: the mixture of the body language in Chinese traditional opera, Artaud’s body language theory and Pina Bosh ’s dance theater theory. The forth chapter, the presentation of theme and style: the expressions of national ways with the modern fea tures in contemporary area. I wish this essay which studied on the Tian Qinxin ’s art of directing could contribute to the other researchers and drama authors.