A Study Of The Physical Narrative Of Tian Qinxin’s Adapted Plays

As one of the rare female directors in China’s modern and contemporary theater,Tian Qinxin’s creation is often based on classic texts,committed to the transmission of traditional Chinese culture and aesthetic concepts,at the same time,she integrates her unique aesthetic vision and emotional understanding into the adaptation of classic texts,so that the adapted classics give birth to a new meaning and spirit,with the aesthetic characteristics and aesthetic characteristics of "Tian’s".In her long-term theatrical stage practice,Tian Qinxin’s theatrical narrative system with "body" as the core has been consistent.Tian Qinxin was deeply influenced by Aalto,the founder of "cruel drama" in the process of drama creation,and implemented his theatrical concept into his own theatrical creation,establishing the creative route of taking the body as the essential language of drama,on this basis,Tian Qinxin not only showed the conventional physical performance form,but also integrated the elements of traditional opera body segments,and absorbed the artistic concept of "dance theater" practitioner Pina Bausch,adding dance body language to it,and constructing the narrative system of drama with diverse body language.Taking "body" as the starting point,this thesis selects representative works in Tian Qinxin’s adapted plays as the research object,and explores the body presentation and narrative significance in Tian Qinxin’s adapted plays through the research and analysis of the two systems of text and stage performance,aiming to explore the aesthetic attributes and cultural implications behind his body narrative.In addition to the introduction and conclusion,this paper is divided into three parts,the main contents of which are as follows:The physical construction of Tian Qinxin’s adaptation of the play.This part mainly examines the physical phenomena in Tian Qinxin’s adapted plays,and divides the phenomena presented by the body into three categories: body symbols and reshaped limb forms under conventional performances,and external extensions of the body.Among them,the body under the conventional performance conveys rich meanings with representative body symbols such as faces,limbs and secondary sexual characteristics;The reshaped body form is divided into two body languages: opera body and dance;The external extension of the body starts from the lines,costumes and props,respectively,to explain how they embody the body.This chapter focuses on the above body language,and discusses in detail the physical phenomena in Tian Qinxin’s adapted plays,as well as the emotions and thematic implications of the characters contained in these body phenomena.Tian Qinxin’s means of adapting the play as a body narrative.This part analyzes how the body is narrated in Tian Qinxin’s adapted play,and how the external means relied on by which the body is narrated are presented.First of all,the body,as the absolute driving force of the narrative in Tian Qinxin’s adapted play,presents three different situations: source power,secondary power and continuous power.Secondly,from the stage presentation of "imitation",the three elements of scenery,lighting and sound in the stage are analyzed in detail to create a suitable atmosphere for the body performance and assist the body to better complete the narrative.Finally,the physical phenomena in the theater space and the script space are deeply analyzed,and the interdependence and interdependence of the body and space are discovered.On the whole,the body,as the narrative driving force of the play,promotes the development of the actions and plots of the drama characters,and the stage elements and spaces around the body at those moments jointly create a "sound and color time and space",which provides auxiliary power for the physical narrative of Tian Qinxin’s adapted play.Tian Qinxin’s adaptation of the cultural significance of the play’s body narrative.Starting from the investigation of the above content,this part summarizes and expounds the cultural implications of the body narrative in Tian Qinxin’s adapted plays.Starting from the three points of the theme discourse presented by the symbolic body and the care for modernity in the oriental spirit and body narrative process reflected by the body language,the interpretation of Tian Qinxin’s personal experience of life and human nature integrated into her creations,as well as the traditional Chinese aesthetic spirit and Zen concept behind it,as well as her thinking and humanistic care arising from the current context,classic and modern,have all been rounded and balanced cultural positioning in her plays.Based on the above research on Tian Qinxin’s adapted plays,it can be concluded that his creation contains a strong sense of body."Body",as the carrier of Tian Qinxin’s theatrical concept,appears on the stage with a strong posture and rich forms of expression,which is not only the bearer of the story,but also the driving force of the narrative of the story,Tian Qinxin constructs a body shape full of rich emotions in the way of convention,dance and opera,and shows a broad cultural vision.The return of the body as the language of drama not only enriches Tian Qinxin’s stage performances and greatly improves the appreciability of Tian Qinxin’s plays,but also expounds the philosophical issue of symbiosis between man and drama,life and culture with the profound concept of "everything is prepared for me".