{"id":1203,"date":"2019-01-03T20:25:40","date_gmt":"2019-01-03T20:25:40","guid":{"rendered":"https:\/\/www.critical-stages.org\/18\/?p=1203"},"modified":"2019-01-03T20:30:56","modified_gmt":"2019-01-03T20:30:56","slug":"introductory-note","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/18\/introductory-note\/","title":{"rendered":"Introductory Note"},"content":{"rendered":"\n

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

Since Mr. Mei Lan-fang<\/a> visited America and the Soviet Union with his theatre troupe (in 1930 and in 1935 respectively), bringing Chinese Jingju art to the West and communicating with some great European theatre artists such as Stanislavski, Nemirovich-Danchenko, Meyerhold and Brecht, Jingju<\/a> has become the synonym of Chinese traditional theatre in the West. A most valuable intercultural connection, no doubt. What is still lacking in the West, however, is a more inclusive vision of the riches and the true variety of Chinese theatre. Chinese traditional theatre includes more than 360 different variations. Apart from Jingju, there are also Kunqu,<\/a> Yueju<\/a> and Yuju,<\/a> among many other forms.<\/p>\n\n\n\n

It\nwas at the beginning of the 20th<\/sup>-century that the western-style\ntheatre (the dramatic theatre) was introduced into China. It very quickly set\nroots and flourished. After 1949, in nearly every province, dramatic theatre\ncompanies, financially supported by the nation, were established, each\ncontributing to the development of the genre. <\/p>\n\n\n\n

The\nfirst years of the 21st<\/sup>-century are enjoying a lively and growing\ntheatre industry. However, the theatre is still plagued by problems of bureaucracy\nand censorship. <\/p>\n\n\n\n

On today\u2019s Chinese stage, official\ncensorship is still strict and conservative; although theatre artists have a very\nstrong desire for independent creativity and an instinct for self-expression.\nSuch a conflict creates a strong internal tension within Chinese theatre. In\nthe last 10 years, theatre exchanges with other countries have been common, and\nmany post-dramatic shows have been introduced to Chinese audiences. To the\nChinese contemporary theatre artists, such as Lin Zhaohua, Meng Jinghu and Tian\nQinxin, the traditional theatre, as well as western contemporary theatre, have\nprovided a variety of references and artistic directions.<\/p>\n\n\n\n

Most\nof the new generation of stage directors are independent artists born after\n1978. They bring fresh air to Chinese contemporary theatre. The new\npossibilities provided by the internet have also helped enrich Chinese theatre criticism,\nespecially for some young and independent critics, who are very active, and who\ntake advantage of the dynamics of the worldwide web. Their voices and criticism\ncorrespond closely with the creativity of young stage artists. They have\npromoted the pluralistic development of Chinese contemporary theatre. <\/p>\n\n\n\n

With this special issue of Critical Stages\/<\/em> Sc\u00e8nes critiques<\/em> we are trying to sketch a profile of what is going on in contemporary theatre in China and to introduce it to the international theatre audience. It goes without saying that it is quite impossible to cover everything. We knew that from the start. We did our best, however, to have papers that touch upon issues that are hotly debated in various Chinese theatre circles. For example, the revival of traditional theatre forms and the relations between tradition and modernity are important parts of the discussion that is advanced in this volume. To this end we are also publishing papers that come from Chinese people living abroad as well as from non-Chinese who are either exposed to Chinese culture professionally or take a professional interest in the Chinese theatre. Their contributions open up a spectrum of enquiry and bring into the discussion a series of interesting and instructive views. <\/p>\n\n\n\n

As a guest editor of this\nspecial volume I thank all of our contributors for their most valuable\ncollaboration with us. I hope our selection of essays and interviews lives up\nto their expectations. <\/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 the Dramatic Literature Department, at the Central Academy of Drama, in Beijing, China. He graduated from the Russian Academy of Theatre Art with a Master\u2019s Degree in Fine Arts. His main publications include: \u201cA Reading of Three Sisters\u201d(2005\/3), \u201cNotes on The Seagull\u201d (2007\/1), \u201cThe Spiritual Awakening of Intellectuals—Chekhov`s Uncle Vanya\u201d( 2017\/2), and \u201cA Study on Lin Zhao-hua\u2019s Interpretation of Chekhov\u2019s Works\u201d(2008), all of which appeared in Drama: The Journal of The Central Academy of Drama<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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