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| | Articles about Gao Xingjian (9th Dec 22 at 5:16am UTC) | | Since the early 1960s, Chinese theatre circles have been keen on discussing the ideal of "freehand drama", but the more they say in theory, the more confused they are, and so far they have not written a recognized "freehand drama". The premise of freehand brushwork is that there is another "meaning" boundary above writing, which Wang Guowei later classified as "realm" theory. The realm is beyond the medium of art, and beyond the objects directly seen by art. Gao Xingjian's hierarchical view of drama, however, is the key turning point for drama as Zen from mystery to enlightenment, from doubt to wisdom, and also the advancement from the level of performance to the consciousness beyond performance. In God of Night Wandering, the traveler becomes a sleepwalker, which is the dream of his reading and meditation, so to speak. It is a combination of his imagination and the content of the book (the sexy woman in the car seat is obviously a hint for the sleepwalker to meet the street prostitute), the passenger is the performer, and the sleepwalker is the performer again. When at last there were only books left in the carriage and no readers. The sleepwalker was knocked down in the street by a punch from a masked man, and the train carrying the sleepwalker was passing over the street: the performed world took the performer from the performing world, in other words, the performed world was more real than the performing world. The sleepwalker falls in the play within the play,321 stainless steel sheet, and it is impossible for him to return to the stage. It should be said that this is a wonderful slapstick deduction of the meta-consciousness of drama. The koan of Zen Buddhism is originally a farce. The philosophy in the farce seems to be vulgar, but it has the possibility of making people think for a long time. 7 Such a unique theatrical aesthetics is different from the so-called realistic script-performance system, which allows actors to empty their subjective consciousness, experience the role wholeheartedly and reproduce the role, thus hoping that the audience will identify with this experience, immerse themselves in the authenticity of the world being performed, and finally agree with the interpretation of the world by the drama. Such a unique sense of drama. It is also different from Brecht's view. The latter uses the "alienation method" to force the audience to see the falsity of the ideological interpretation of the drama,x60 line pipe, so as to take a critical attitude towards the world with the dramatists. When Brecht attributed the effect of performance to the theory of "alienation", he thought of the possibility of communication and the direction of interpretation, which pushed the audience to think and transform the world. Gao Xingjian's meta-consciousness of drama went further than Brecht's, and his purpose was to let the audience see the triple nature of drama itself. So as to stand in the position of "intermediary", that is, controller. If there's something the theater wants the audience to understand. It is to make them more or less understand that since the subject can appreciate or observe the self-teasing of the subject of the drama, people can also self-examine and self-criticize the live drama happening in the world. We have to forget Brecht's critical world of theatre-watching. The difficulty is not in transforming the world, but in understanding ourselves critically. To this, Gao Xingjian calls it "letting the audience illuminate their own insights.". What Gao Xingjian hopes for the audience is to make them understand that both the subject of performance and the subject of performance, including their subject of audience, are both controlled and beyond control, both free and not free, so as to have an insight into the finiteness of any subject. From the discovery of this self at the end of the last century to the doubt of the self, 347 stainless steel ,uns c70600, it is now the end of another century. If we can understand from the drama that self-consciousness itself is a beast in a cage, we can understand why "self" needs great compassion and liberation in the first place. Gao Xingjian's view of drama is very similar to that of a Zen apprentice who observes koans or meditates in Zen. Becoming a Buddha or a demon is a matter of one mind. The audience is actually the owner of the highest subject, and the subject on the stage is only the projection of his own evolution-not the play, not the people, but the viewer's heart. 8 Language has always been the central link in Gao Xingjian's view of drama. However, his view of language is very special, and he still insists on a kind of "counterculture" language: advocating the use of the most common, "non-literary" language, spoken language, living language and dialect. He believed that some vocabulary, morphology and syntax in dialect "can enter the literary language without much modification". In recent dramas, Gao Xingjian's insistence on "ordinary language" is no longer a stylistic choice, but a fundamental aesthetic choice. Perhaps it is the insistence on ordinary language that makes him naturally move towards Zen aesthetics.
Compared with the elegant language of Confucian classics and mainstream literature, the vulgar but fluent language of Zen is a way of expression without scheming. My efforts in language are not so much elaborate rhetoric as fluency. Even if it is a complex sentence pattern invented by myself, I try to get a sense of language from hearing alone. It is not necessary for readers to interpret it. In this regard, I should admit that the language of Zhuangzi and the Chinese translation of Diamond Sutra has greatly inspired me. Refusing to inherit the mainstream language style is not only a matter of cultural attitude, but also a matter of language style, but also how to accomplish the task he has set for himself, that is, to achieve transcendence with language. To this end, the legacy of the Shan clan is crucial. The more refined and embellished literary language is, in fact, the more public language it is, because this refined language requires professional or semi-professional language, that is, a language that has received excellent cultural education, understands a large number of allusions in vocabulary, and also understands the historical and cultural orientation of the style. On the contrary, such language resists personalized interpretation, and it is even more impossible to achieve transcendental understanding. Therefore, Li Zong emphasized the use of layman's language, and even regarded the beauty of words as the object of governance. Evil words are not right, and they are still beautiful. In Zen drama, language does not aim at meaning, on the contrary, meaning becomes an excuse for the development of the drama text, which is a necessary but not inevitable coat. Gao Xingjian brilliantly calls it "meaning in meaninglessness". 9 Fundamentally speaking, Zen enlightenment is not conveyed. If one person (for example, the playwright Gao Xingjian) has realized something, he cannot tell another person (for example, the audience watching Gao Xingjian's plays). As a playwright, of course,x52 line pipe, he has to use language, but language itself can not "convey heart to heart", but can only block communication. lksteelpipe.com | |
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