Abstract
To give the reader a solid understanding of the aesthetics of jingju and how they relate to Gao’s own theories, this chapter goes into depth on how jingju operates in performance (based on my own experience as an audience member). Moving beyond the erroneous work of Brecht on Chinese performance, this chapter looks at deeper aesthetics than distancing or the spectacle of acrobatics. Careful not to overwhelm the reader with foreign vocabulary, this chapter looks at the emotional presentation of character in performance, goes on to the physical work of the actors, and concludes with a consideration that jingju demands an awareness of character and actor that may not be as foreign to Western audiences than expected.
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Notes
Xingjian Gao, Au bord de la vie (Paris: Lansman, 2000), 6.
Jo Riley, Chinese Theatre and the Actor in Performance (Cambridge, MA: Cambridge Press, 1997), 23.
Patrick Sommier, “Program Note” (Paris: MC93 2005), no page.
Hervé Bruhat, “Avant-propos,” in L’Ecoloe de l’opéra de Pékin (Sommières: Romain Pages Editions, 2004), 8.
Qiumin Fu, L’Art théatrale de Mei Lanfang (Paris: Editions You-feng, 1998), 82.
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© 2014 Todd J. Coulter
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Coulter, T.J. (2014). Physical Division: Jingju in Performance and Theory. In: Transcultural Aesthetics in the Plays of Gao Xingjian. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137440747_3
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DOI: https://doi.org/10.1057/9781137440747_3
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-49510-8
Online ISBN: 978-1-137-44074-7
eBook Packages: Palgrave Theatre & Performance CollectionLiterature, Cultural and Media Studies (R0)