The traditional Chinese Theater is distinguished by a cultural privacy that distinguishes it from other theaters. By the beginning of twentieth century we can detect a lot of radical changes by which the Chinese society either on the cultural and economic level which led to the appearance of new theater trend parallel to the heritage traditional theater . The important of which is 'The little theater' which was based on refusing heritage theater, as the evolution of the little theater is considering a type of rejection of theater writers to the idea of preserving the authority and giving forms to artistic concepts and expressional forms. The study aims to detect the important forms of cultural rebel which was represented in translation motions and the appearance of 'New Youths' magazine and fourth of May motion and experimental trend by 'MingJing hui' and economics changes, trying to search in understanding the reasons of rebel against the heritage theater as it represents the authority of traditional arts and dispensing with the heritage identity in theoretical arts and how it was illustrated in theoretical performance by analysing a scene of play "Suo Linnang'2014 from Peking Opera and a scene of play ' Rhinoceros in Love'2013 from little theater by using the methodology of culture anthropology, Trying to reveals the change made on Chinese and if the culture and economic changes have succeeded in smashing the form of heritage theater or if the little theater kept the traits of heritage theater .
Hadeer Minshawy Abdel dayem Abdel Moyte, Ain Shams University, Egypt
Stream: Arts - Performing Arts Practices: Theater
This paper is part of the ACAH2015 Conference Proceedings (View)
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