| The Chinese contemporary avant-garde drama emerged in the late of 1970s and the early of 1980s.Traditional Chinese opera then was in crisis and model drama just disappeared.Under the wide-spread influence of the Henrik-Stanislavski system,the newly emerged drama had much difficulty to thrive.Therefore,only a few classical plays were performed.The theatre was so rigid and was in urgent need of new force to change the situation.Meanwhile,with the improvement of technology and living standard,radio,television and movie were becoming more and more popular.Various ways of entertainment rose while drama was marginalized.The crisis it faced urged it to change.With the translation of modern western drama,new theatrical theories were spread to China,such as Martin Esslin's Theatre of the Absurd,Jerzy Grotowski's Towards a Poor Theatre,and Antonin Artaud's Theatre of Cruelty,and new perspectives were put forward.In addition,the historical background of reform and opening-up,and setting things right,the Third Plenary Session of the CPC,and discussions in the literary and art circles,laid a foundation for further emancipation of minds and practice.The Chinese contemporary avant-garde drama came on stage with a strong sense of playfulness,contrary to the former characteristics of being realistic,serious and plot-oriented.The study of playfulness in the west has a long history.Kant emphasized on the disinterestedness of playfulness,Schiller elaborated on playfulness from an aesthetic perspective.Spencer maintained that to play was to let out the redundant energy in one's body in a biological sense.Groos further explained the motives of playing games,holding that in psychology,advanced games derived from the pleasure of power.Gadamer reestablished the rules and seriousness of games.Huizenga concluded that "games are voluntary activities or career conducted at a certain time and space,with rules that are voluntarily accepted and obeyed,with its own goals,and accompanied by intense and pleasant feelings and consciousness that are different from those in daily life".The Chinese contemporary avant-garde drama has a strong sense of playfulness.First,it presents the playfulness of form.1.The mystery of drama.Avant-garde drama breaks the traditional linear narrative,making meanings in suspense.On one hand,it adds the mysterious feeling;on the other hand,it provokes the imagination of the audience.2.The openness of theatre.The theaters of the Chinese contemporary avant-garde drama are open and changeable,creating a new relationship between audience and performance,which is mutual participation and collective creation.3.Sense of theatre.The emphasis of body presence releases senses of performers and audience.Second,it presents the playfulness of emotion.1.The Chinese contemporary avant-garde drama consist of carnival,comical and humorous factors.These factors,as a representation of folk vitality,dispel the traditional grand narrative,and pay attention to individual situation and value.2.Truth is often contained in jokes,which can be seen as part of people's innocence.3.The tension between seriousness and non-seriousness in the Chinese contemporary avant-garde drama coincides with playfulness,which is both sensitive and memorable.Third,the playfulness of inner spirit.1.The subversion of daily logic.The Chinese contemporary avant-garde drama is able to get rid of realistic thinking and breaks the ranks of symbol,so that it can present the world in a freer,more comprehensive and more profound way.2.The cutting of normal process.The Chinese contemporary avant-garde drama separates itself from the prevailing politics.It is no longer the mouthpiece of politics.It doesn't carry the responsibility of edification any more.Watching plays becomes a personal and disinterested matter.The Chinese contemporary avant-garde drama corresponds with playfulness in terms of disinterestedness,freedom,specific time and space,and mysterious sense and so on.It is the playfulness that makes the drama thrive in the new age. |
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