{"id":1189,"date":"2019-01-03T19:15:22","date_gmt":"2019-01-03T19:15:22","guid":{"rendered":"https:\/\/www.critical-stages.org\/18\/?p=1189"},"modified":"2022-02-06T21:01:37","modified_gmt":"2022-02-06T21:01:37","slug":"a-brief-overview-of-postdramatic-theatre-and-its-contribution-to-independent-chinese-theatre","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/18\/a-brief-overview-of-postdramatic-theatre-and-its-contribution-to-independent-chinese-theatre\/","title":{"rendered":"A Brief Overview of Postdramatic Theatre and its Contribution to Independent Chinese Theatre"},"content":{"rendered":"\n

Peng Tao<\/strong>*<\/a><\/p>\n\n\n\n

The\nChinese translation of Professor Hans-Thies Lehmann\u2019s Postdramatic Theatre<\/em>\nwas published by the Peking University Press, in 2010. It was translated from\nthe original German by Li Yinan, Professor of Theatre Studies at the Central\nAcademy of Drama, in Beijing.<\/p>\n\n\n\n

In\norder to describe and analyze the new theatre phenomena since the 1980s,\nProfessor Lehmann drew from diverse fields such as Literature theory, Linguistics,\nPhilosophy, Physics and Biology.<\/p>\n\n\n\n

Professor\nLehmann’s scholarship was new to China. There were no corresponding words in\nChinese for the terminology that Professor Lehmann had used. In 2010, Mr.\nLehmann was invited to give a lecture on his thesis of Postdramatic Theatre<\/em>\nat the Central Academy of Drama, in Beijing. <\/p>\n\n\n\n

The\nAcademy paid a lot of attention to this opportunity of exchange and,\nparticularly, to hear Professor Lehmann in person. Many students and professors\nattended this lecture. Mr. Lehmann gave a clear explanation of the concept of\n\u201cPostdramatic Theatre.\u201d <\/p>\n\n\n\n

Interestingly,\nthis lecture was not without its own drama. When Professor Lehmann explained\nthe relationship between the work of Bertolt Brecht and his postulation of Postdramatic\nTheatre<\/em>, a young Chinese student stood up and accused Professor Lehmann of\nhis \u201cerror.\u201d The student believed Brecht’s theatre to be in the mould of pure\nagitprop plays. The student further accused Lehmann\u2019s concept of postdramatic\naesthetics as a kind of formalism that would blur class conflicts. <\/p>\n\n\n\n

Professor\nLehmann\u2019s book in China has been a source of controversy as well as animated\ndiscussion. While the book has been criticized by some conservative Chinese\nscholars for its formalist viewpoints, it has also attracted great interest\namong other young Chinese theatre-makers. <\/p>\n\n\n\n

\"\"
From left to right: Peng Tao, Deepa Punjani, Emmanuel Dandaura, Margareta Soerenson, Hans-Thies Lehmann. Photo: Franco Bonfiglio<\/figcaption><\/figure><\/div>\n\n\n\n

Li\nJianjun, a young theatre director, says for example, \u201cI was greatly influenced\nby the book. It gives me an overview of the postdramatic scene, which differs\nfrom the traditional, representational dramatic theatre and its principles.\nThrough its lens I began to observe and think about contemporary western\ntheatre works. This process of thinking helped me find my own working methods,\nmy own motives in my artistic practice. When I started to direct theatre\npieces, I also referred to the book some times.\u201d <\/p>\n\n\n\n

Li\nNing, visual artist, choreographer and director of physical theatre says, \u201cI\ndid not know how to describe my work before I read the book. When I first read\nit, I was not impressed by its theoretical system because I did not read it\ncarefully enough. Later, my greatest impression was that I could locate my\nwork. It was like finding my position on a Google map.\u201d <\/p>\n\n\n\n

Choreographer\nWen Hui says: \u201cI read the book in 2012. It was one of the very few books about\ncontemporary theatre that I could find in China. I remember my excitement while\nreading it. I also bought one for a friend in Hong Kong.\u201d <\/p>\n\n\n\n

\"\"
Photo: Franco Bonfiglio<\/figcaption><\/figure><\/div>\n\n\n\n

Wang\nMengfan, a young theatre maker, who graduated from the Central Academy of Fine\nArts, China, has this to comment, \u201cI first read the book in the Winter of 2011\nafter attending the lectures on Contemporary Western Theatre Arts taught by\nProfessor Li Yinan at the Central Academy of Drama. I did not really understand\nthe book first. It was later when I became a theatre maker that I could\nappreciate it. The book has given a proper identity to the new theatre, no\nmatter whether it is in Europe or in China; in other words, it showed me my own\nposition in the context of Western theatre.\u201d<\/p>\n\n\n\n

The\nbook has thus far attracted great interest among independent theatre makers in\nChina such as Li jianjun, Li Ning, Wen Hui, Wang Mengfan, to name a few. The\naesthetic concepts the book introduces has helped to understand Chinese\nindependent theatre. <\/p>\n\n\n\n

The\nChinese translator of the book used a specific term known as \u201cjuchang<\/em>\u201d\nin her translation to describe the new theatre works, which stress on\nperformance and locality (\u00d6rtlichkeit)<\/em>. Juchang<\/em> is also the term\nthat the Chinese independent theatre makers use to describe their own works.\nAnother reason that the independent theatre makers use the term \u201cjuchang<\/em>\u201d (but not \u201cdrama\u201d) might be\ntheir resistance to the dominance of mainstream dramatic theatre. <\/p>\n\n\n\n

Zhang\nXian, one of the pioneers of Chinese independent theatre claims, \u201cI define\nalmost all my works as juchang<\/em>, including many \u2018counter-interviews’. I\ncall them \u2018speech-action-theatre.\u2019 I also define my creative actions in\neveryday life as juchang<\/em>.\u201d<\/p>\n\n\n\n

Professor\nLehmann\u2019s Postdramatic Theatre<\/em> gave a theoretical formulation of the\naesthetics of new theatre. Scholars as well as audiences no longer wonder if\nthe pieces they see should be called \u201ctheatre\u201d or not, but rather pay attention\nto the social and artistic aspects of the work. <\/p>\n\n\n\n

Independent\ntheatre makers in China have had to perform in unconventional places, such as\ntemporarily constructed tents. Artists of “Caochangdi Working\nStation” perform in the same space they live in. “The Grass\nStage” in Shanghai utilises all the places they can afford\u2014auditoriums,\nhotel lobbies, galleries, schools. <\/p>\n\n\n\n

Li Ning\nperforms at construction sites in the suburb of his hometown, Ji\u2019nan. Zhang\nXian, whose texts are not allowed on the mainstream stage, extended the meaning\nof juchang<\/em> to to include all forms of engagement in the public sphere\n(interviews, internet writings, flash mobs, etc.). The independent juchang<\/em>\nartist’s position, far away from the centre\/outside mainstream theatre, is\nreflective of the centre-periphery discourse. <\/p>\n\n\n\n

After\n2000, “Living Dance Studio\/Caochangdi Work Station” became a crucial\npoint of reference for Chinese independent theatre. Wen Hui and Wu Wenguang\nopened up their living spaces to young theatre artists from all over China.\nThey share space for rehearsals, and performances; they also live together.\nTheatre has morphed into everyday life and the concept of “home” has acquired\nnew meaning. This \u201chome\u201d becomes the theatre artist’s tool of resistance\nagainst the government-dominated public sphere as well as the\n“dramatic” theatre system that the government supports. <\/p>\n\n\n\n

In\n2007, Li Yinan, the translator of Postdramatic Theatre<\/em>, took up the\nposition of Chief Dramaturg of the Caochangdi May Festival. She introduced\nLehmann\u2019s book through a series of lectures. The book encouraged the young\nCaochangdi artists to work independently in all sorts of spaces. Li Jianjun,\nfor example, transformed a bus into a performing space (in his piece 25.3 km<\/em>). In recent years, Li Yinan has\ndirected students\u2019 theatre pieces for the Central Academy of Drama\u2014YouMou\/Have, Have Not <\/em>(2015), Jia\/HOME\n<\/em>(2016), Shuihu<\/em> (2017). These pieces gave impetus to fundamental\nconceptual changes in Chinese theatre education. In the relatively conservative\nAcademy system, the students began to understand theatre with an open and\nactive mind, and started to produce their own theatre works.<\/p>\n\n\n\n

Professor\nLehmann has been invited to deliver several lectures in China and has directly\nsupported the Chinese independent theatre makers. He has watched productions by\nLi Jianjun and Li Ning in Wuzhen and has expressed his appreciation. His\nsupport has helped marginalized\nyoung theatre artists to gain more recognition in\nmainstream Chinese theatre. <\/p>\n\n\n\n

In\n2018, Professor Lehmann has taken up the position of the Academic Consultant\nfor the first Factory Theatre Festival, in Laiwu. He was also invited to the\ninternationally noted Wuzhen Theatre Festival. In the IATC Youth Forum, at the\n2017 Wuzhen Theatre Festival, Professor Lehmann gave valuable advice to the\nyoung generation of theatre critics.<\/p>\n\n\n\n

The\nyear 2019 will be the 20th anniversary of the publication of Postdramatic\nTheatre<\/em>. The book has been debated in the West as well. However, there is a huge difference between the Chinese and\nthe Western discourse about the book. In contemporary\nChina, independent theatre makers are severely oppressed. <\/p>\n\n\n\n

From\nthe global point of view as well, Asia, as the former oppressed colony of the\nWest, is also seeking new ways to fight for space and voice. In this quest for\nidentity and relevance, Postdramatic Theatre,<\/em> has offered valuable\ninsights to Chinese independent theatre makers. <\/a><\/p>\n\n\n\n

\n\n\n\n\"\"\n\n\n\n

*<\/a>Peng Tao<\/strong> is theatre critic, professor and head of Dramatic Literature Department at the Central Academy of Drama, in Beijing China. He is the president of the Chinese section of IATC. He graduated from the Russian Academy of Theatre Arts with a Master`s degree in Fine Arts. His main publications include \u201cA Reading of the\u00a0Three Sisters<\/em>\u201d (2005\/3), \u201cNotes on the\u00a0Seagull<\/em>\u201d ( 2007\/1), \u201cA Study of Lin Zhao Hua`s interpretation of Chehov`s works\u201d (2008), \u201cThe Spiritual Awakening of Intellectuals\u2014On Chehov`s Uncle Vanya\u201d( 2017\/2), all of which appeared in Drama: The Journal of The Central Academy of Drama.<\/em><\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2018 Peng Tao
Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n

\"\"\/<\/a><\/figure><\/div>\n\n\n\n

This work is licensed under the
Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"

Peng Tao* The Chinese translation of Professor Hans-Thies Lehmann\u2019s Postdramatic Theatre was published by the Peking University Press, in 2010. It was translated from the original German by Li Yinan, Professor of Theatre Studies at the Central Academy of Drama,<\/p>\n","protected":false},"author":1,"featured_media":1190,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[61],"tags":[64],"class_list":["post-1189","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-thalia-prize","tag-by-peng-tao","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/Tao1.jpg?fit=570%2C382&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pam472-jb","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts\/1189","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/comments?post=1189"}],"version-history":[{"count":4,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts\/1189\/revisions"}],"predecessor-version":[{"id":1662,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts\/1189\/revisions\/1662"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/media\/1190"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/media?parent=1189"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/categories?post=1189"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/tags?post=1189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}