Peking Opera and Grotowski\u27s Concept of \u22Poor Theatre\u22

摘要

In his article \u22Peking Opera and Grotowski\u27s Concept of \u27Poor Theater\u27\u22 Yao-kun Liu presents a comparative study of Peking opera and Western theater with special attention to Grotowski\u27s concept. Explaining Peking opera\u27s dramatic elements (such as gesture and body-movement) and theatrical devices (such as stage-setting, costume, and conventions) Liu elaborates on the universality and distinctions between Eastern and Western aesthetics of drama. As an attempt to reveal the speciality and uniqueness of Peking opera, Liu employs Jerzy Grotowski\u27s notion of \u22poor theatre\u22 in a context of Constantin Stanislavski\u27s concept of empathy, Antonin Artaud\u27s dramatic prophecy, and Peter Brook\u27s notion of \u22deadly theatre.\u22 Liu comes to the conclusion that opposite to the spiritual and individual approaches of poor theatre, Peking opera in its long history and contemporary practice satisfies a social need for contact with culture and thus Peking opera is both educational and functional. Besides the purpose of entertainment, it is an instrument to transmit the attitudes, concepts, and knowledge of Chinese society and to instruct the audience about values and morals derived from Chinese ethics and philosophy.