Vanguard and Adherence:On the Stage Practices of A Doll's House in Contemporary China
A Doll's House is a problem play written by Norwegian playwright Henrik Ibsen in the 19th century which tells the female protagonist Nora's obedience,awakening and escape from her marriage in anger eventually.Due to its irreplaceable position as a classic,Chinese cultural community has continuously adapted,interpreted,and staged it from different perspectives since the early 20th century.The theatrical version of A Doll's House released in 2019 is a combination of"Theater of Criticism"and"Theater of the Avant-Garde",because the characters and lines remain unchanged,while the theme and stage design are changed in it.The director WANG Huan,while respecting the essence of the classic,pursues a new form of"visual art"by breaking the theatrical framework that takes"fictional presence"as the basis for representation with the aim for"imitation".And he adopts the strategy of the imagery narrative with audio-visual symbols to extend the stage space and eliminate the appreciation conventions for the audi-ence as they used to be"manipulated by the emotions".In the process of bidirectional separation and integration of theatrical text and stage form,it has achieved the adherence to the essence of the classic and the exploration as a vanguard in the contemporary performance.
A Doll's Housevisual and auditory perceptionspacepresence
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