Decentralization and Diversification: The Redefinition of Traditional Drama by the Post-theater Theater

Xiurou Wang

doi:10.54097/teqsd505

Authors

Xiurou Wang

DOI:

https://doi.org/10.54097/teqsd505

Keywords:

Post-Theater Theater, Lehman, Plot Weakening, Multi-Focus, Drama Literature

Abstract

This paper discusses in detail the characteristics, discussion and acceptance, countertradition and its influence and future development of modern theater. First, this paper analyzes the core characteristics of plot weakening, multi-focus presentation of stage and space, and the use of real time, etc. Then, the controversy over the translation of "post-drama" and the debate on drama "literariness" and "theatrical" are discussed. Subsequently, it discusses the countertradition of post-theater, especially the de-plot and de-role, as well as the imbalance between form and content. Finally, the paper summarizes the challenges of traditional drama and the future development direction, emphasizing its potential in diversified ways of expression and narrative means.

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References

[1] Wang Yuechuan. Postmodernist Culture [M], Beijing: Peking University Press, 1992.19.

[2] By Hans Tis Lehman, translated by Li Yinan. Post-theatre theatre [M]. Beijing: Peking University Press, 2010.15,78.

[3] Gong Baorong. Instead of following the "theater", it is better to stick to the "drama" --- and then discuss the Chinese translation name of postdramatic theater [J]. Drama Art, 2020 (05): 38.

[4] LEHMANN, HANS - THIES. Postdramatic Theatre. Translated by Karen Jürs - Munby, London and New York: Routledge, 2006, p. 16

[5] Chen Tian, From "Empty Space" to "Specific Field Area": On the Turn of Theater Space Practice in the 20th Century, Dramatic Art, No.5,2021.