Lin Zhaohua and the Sinicization of huaju.

摘要

Lin Zhaohua (b. 1936), a senior director of the Beijing People's Art Theatre (BPAT) and the founder of Lin Zhaohua Theatre Studio, has been an experimental and avant-garde huaju director in China after the Cultural Revolution. His early experimental huaju works initiated the Little Theatre movement and were a pioneering force in the experimental theatre movement in the 1980s. From 1990, Lin has further developed a dual structure directorial and acting methodology and created a series of dual structure huaju works. Huaju, as an "oversea import" theatrical form, has developed and Sinicized under the influence of Chinese indigenous theatre---xiqu---throughout the 20 th century. Lin's artistic experiments have been deeply affected by xiqu and his exploration of xiqu's application to huaju performance making him one of the most important contemporary directors to work with huaju Sinicization after 1980.;This study first establishes a historical and ideological background for the Sinicization of huaju from the early 20th century to the present. Two major concerns regarding the development of huaju as a whole after 1980 are examined in more detailed discussions thereafter. These issues include huaju's "crisis," a large scale huaju debate in the "Theatre Conception Discussion," rebellion against traditional realistic huaju and the Stanislavski method, xiqu's inspiration of experimental huaju directors, and proposals of xiqu's contemporary application to huaju.;In chapter two, Lin's life and his artistic experiments are examined in two stages: the 1980s, and 1990 to the present. The focus of these stages includes the opposing evaluations of Lin as a successor to, and a rebel against, BPAT's tradition; huaju's conservative voice; Lin's attitude toward inheriting BPAT's tradition; the de-emphasis of the script and the increasing dominance of the director from the 1990s; Lin's aspirations for huaju creation; and Lin's concepts concerning dual structure huaju works.;In chapters three and four, I examine Lin's dual structure directing and acting methods respectively. I categorize Lin's methodology of creating dual structure huaju work into three patterns: scenic design and the second structure; actor performance as the second structure; and the concept of "flowing stage" as the second structure. Artistic techniques, the director's theme, and the structure of each pattern are examined through Lin's representative dual structure huaju works. The research then examines Lin's dual structure acting methods, particularly exploring and evaluating his concepts of narrative acting, an actor's neutral state, and actor as a puppeteer. Finally, Lin's huaju experiments from 1980 to the present are examined for their significance as contributions to the culture of huaju in terms of Sinicization and Chinese theatre development as a whole.