Intercultural experiments in modern Chinese theater (the play Here is Lear by Wu Xinguo)

Abstract

This article analyses the play Here is Lear by the Contemporary Legend Theatre (CLT) which was founded in 1986 by director and actor Wu Xinguo. Based on Shakespeare’s tragedy, the director combines the scenic techniques of Peking Opera, Kunqu Opera with music and dance from Taiwanese rituals, as well as European traditions. In Here is Lear, Wu Xinguo plays ten roles alone. The study reveals how different Chinese schools are embodied in the actor’s work. The actor uses the types of a role (han dan principles) of the Peking opera. For Lear, laosheng is used. The article analyses individual characteristics of three Lear’s daughters through comparison of three different schools (masters Ceng Yanqiu, Xun Huisheng, Mei Lanfang) of the dan role performed by male actors.