How does Chinese drama establish independent character and style? Top notch directors and scholars engage in heated discussions on art, drama, and character in Shanghai
On June 3rd, the Shanghai International Youth Scholars Forum was held at the Shanghai Academy of Drama, with the theme of "International Development and Nationalization Exploration of Director Art" by top domestic and foreign theater directors and scholars, exploring the intrinsic vitality of inspiring contemporary Chinese theater director art.
"When I talk about the risks and dangers of internationalization, I am talking about a person who is losing their cultural roots, not feeling confident or even proud of their own cultural roots, but getting lost in a chaotic foreign culture. Sometimes I find it easier to follow trends, and sometimes I am attracted by Western ideas, forgetting who I am and where I come from." Tobias Bianconi, Director General of the International Theatre Association, said frankly, "There is both opportunity and potential for innovation in Chinese theatrical art. It is not wrong to learn from Western educators, playwrights, and drama producers, but it is not wrong for a person to explore their roots in traditional national drama, music, and dance." He reminded colleagues not to forget when searching for the roots of theatrical culture. "Go deep into various regions, especially rural areas, and search for exciting local folk stories. Don't forget to study philosophy, visual arts, music, and the lives of people from all walks of life. "Human creation has always been the center of any art, and even ChatGPT cannot replace humans' role in it."
Gu Haohao, Chairman of the Shanghai Dramatists Association, stated that Shanghai's cultural identity and influence are constantly being highlighted, attracting domestic and foreign artistic talents with an open, friendly, and colorful mind. "We have been working hard to cultivate drama talents, and acting is such a cradle. Professor Lu Ang's international director master class has been held for 14 consecutive sessions, focusing on how to uphold the foundation of Chinese culture in the new era and historical opportunities, and contribute solid strength to Shanghai's efforts to build the Asian performing arts capital with the internationalization and nationalization of contemporary drama director art."
How can Chinese drama establish its independent character and style, and how can it stand out among the myriad of world dramas? Hao Rong, Dean of the Central Academy of Drama, believes that portraying the Chinese people on the Chinese stage cannot be separated from the traditional Chinese theatrical art. "For example, programmatic techniques that showcase the inner world through external expression are the strengths of national drama; the art of character roles is centered around actors, and actors must have kung fu. Education can support the complex and rich inner world of characters." He said that establishing a distinctive Chinese theatrical cultural system in the world's theatrical jungle requires all actors to work together from the perspectives of director, performance, theater, aesthetics, and even philosophy.
Wang Xiaoying, Director of the Director Art Committee of the Chinese Dramatists Association and a national first-class director, believes that since the 1950s, Chinese drama has been exploring nationalization practices. Many older artists have made extensive creations and in-depth discussions. "These older generations have a common value understanding of drama - drama is poetry. I hope to further expand the possibility of Chinese drama moving towards a deeper and broader 'nationalization+modernization' based on the successful creation and profound interpretation of their predecessors. Poetic imagery in drama is far more than just a collection of stage forms processed, it is a stage art form that achieves a whole through the overall director's conception. In terms of connotation, poetic imagery seeks to explore richer and more complex emotions through dramatic conflicts." "And with deeper and more inspiring philosophical ideas, allowing characters to showcase the poetic meaning of life in the deepest and most diverse emotional experiences."
Ran Changjian, President of the Chinese Theatre Directors Association and Vice President of the Chinese Theatre Academy, shared their respective professional experiences with Bachel, Art Director of the Chekhov Art Center in Russia, from which they can glimpse the different characteristics of Chinese and Russian theatrical art. Lu Ang, a professor at the Shanghai Theatre Academy and Secretary General of the Drama Film and Television Discipline Evaluation Group of the State Council Academic Degrees Committee, summarized the research and thinking on the teaching of Shanghai Theatre Directors. "Generations of teachers have laid a solid foundation for teaching. They advocate for the inclusive and innovative integration of Chinese and Western drama, emphasize the innovative learning and practice of drama directors, pay attention to life, respect individual creativity, attach importance to ideological construction, social responsibility, patriotism and art, and team cooperation. This is a very good tradition and the power of senior role models. Nowadays, the director department's 16 character educational policy is rooted in the local area, has a global perspective, integrates Chinese and Western cultures, and dares to innovate."
The event is hosted by the Shanghai Theatre Academy and the Shanghai Representative Office of the International Theatre Association, and organized by the Director Department of the Shanghai Theatre Academy.
