BEIJING, April 7, 2025 /PRNewswire/ — Chinese drama standing out in the world of drama depends on whether we can find the roots of our national culture and the light of our philosophical thought, as well as well as whether we can apply artistic wisdom to localize Western theories in a Chinese context and adapt creative methods to align with national depth and breadth. Chinese philosophy nourishes our souls and fosters our thinking and aesthetic awareness. To construct a Chinese theatrical system, we need to unearth aesthetic ideas and philosophical foundations from our own theatrical traditions. Otherwise, the Chinese theatrical system will remain at the level of mere “technique” with refined “skills” but unclear Dao (the fundamental principle of the universe).
This article traces the origins of Laozi and Zhuangzi’s philosophy, suggesting that drama practitioners should consciously strive for the ideal of “art for the sake of life.” It seeks inspiration from the expressive techniques of Laozi and Zhuangzi, including their use of abstraction, xieyi (freehand expression), the construction of artistic yijing (mood and conception) and the interplay of reality and illusion, while exploring the relationship between Laozi and Zhuangzi’s philosophy and the development of a Chinese theatrical system in the new era.
Devt of Chinese drama needs to incorporate a philosophical perspective
As society progresses and technology advances, diverse forms of drama – such as digital drama, machine drama, and cyber performances – are emerging. What will the future of drama look like? We are faced with new questions. Theatrical art is a dynamic art form, and its creative concepts and methods must evolve alongside the times. However, amidst this overwhelming array of options, drama practitioners need to reflect carefully on more than just technique: What are the cultural characteristics of our nation? What is the theoretical foundation that shapes our aesthetic needs and tastes? Where do the philosophical roots that ground Chinese people’s understanding of life come from? And what is the essence of the Chinese theatrical approach that is closely tied to these questions?
Thought is the soul of drama. Drama is not just about aesthetic expression, it can also be a reflection of philosophy. Dramatists need to draw from philosophy, sociology, psychology, and other fields to drive artistic creation forward through the power of thought.
Ouyang Yuqian, a renowned Chinese dramatist, actor, playwright, and educator, once said that we should “create the latest and most beautiful theatrical art on the foundation of tradition,” which points us in the right direction for exploration. Chinese philosophy nourishes our souls and fosters our ways of thinking and aesthetic awareness. To build a Chinese theatrical system, we must first unearth aesthetic ideas and philosophical foundations within our own cultural heritage.
Influence of Zhuangzi’s thought on Chinese drama
Although the philosophical work Zhuangzi is not an aesthetic treatise, it has profoundly influenced the discourse of Chinese artistic creation and criticism, shaping Chinese theatrical concepts and aesthetic tastes.
The beauty depicted in the Zhuangzi is unrelated to practicality, material satisfaction, or the pursuit of accomplishments. Zhuangzi advocates for a life that is “artistic,” one that strives for an artistic existence. Artists must come to understand the vital importance of art in the lives of ordinary people, seeing their creative duty as “making art for life.” Only in this way can they truly embody the spirit of Chinese art, which embraces the pursuit of ideals and the joy of artistic expression.
Contemporary drama practitioners should strive to hone their craft with the same unwavering dedication as the artisans in the Zhuangzi, elevating their spiritual cultivation and embodying the unique spiritual qualities and humanistic sentiments of the Chinese people. They should avoid shallowly indulging in form and technique and not be constrained by external practical goals. Instead, they should draw inspiration from Chinese aesthetics and artistic spirit to foster a conscious engagement with theory and creation, working to produce theatrical works that reflect national characteristics, embody cultural identity, and resonate with the features of our times and the human sentiment.
Zhuangzi excels at using exaggerated language to describe his subjects. The situations and character portrayals he presents, with just a few words, can reach the essence of the spirit, thereby creating a profound artistic conception. His expressive techniques and the way he generates artistic meaning have had a great impact on various artistic forms in China, including fine arts, sculpture, poetry, music, and drama.
Chinese art seeks to capture a sense of nuance, which emerges from the interplay between presence and absence, as well as the tangible and the intangible. Techniques like the use of blank space in traditional Chinese painting, the balance of density and sparsity in calligraphy, the intricate hollowing in shadow puppetry, and the chengshi (sets of technical rules and regulations) in Chinese opera all exemplify artistic methods that explore the relationship between what is present and what is absent, as well as between the real and the illusory.
Traditional Chinese drama is a stage of “presence and absence,” appearing seemingly vacant, yet through the actors’ performances, it can bring forth the myriad elements of Heaven and Earth. A “void” is created by the actors, transforming in the audience’s imagination into “something,” thereby forming a complete theatrical representation.
The inspiration of Laozi and Zhuangzi philosophy in constructing China’s theatrical system
Most existing theories of literary and artistic creation are experiential summaries, distilled from analyzing and generalizing classic works. In contrast, the philosophy of Laozi and Zhuangzi begins at the very source of things, contemplating how a truly great work comes into being. In fact, masterpieces are not the result of force or meticulous planning. Many great works of art have been created unintentionally – born out of genuine interest, free from utilitarian motives. Only when artists are deeply moved by profound experiences can they create enduring classics.
Drama is an important medium through which humanity engages in self-understanding and self-exploration. From Zhuangzi’s perspective, drama is a dream that reflects reality, while life is reality within a dream.
Both drama and philosophy seek to answer fundamental questions about human existence – such as “What is the meaning of life?” and “Who am I?” In this sense, drama is not only an art form but also a kind of philosophy. Drama gains depth through historical reflection, and reaches new heights through philosophical inquiry. The unbroken continuity of Chinese civilization over more than five millennia means that the Chinese people must seek their spiritual grounding within their own cultural heritage. The development of a Chinese theatrical system should be rooted in the finest traditions of Chinese culture, using drama as a vessel to support the growth of the Chinese people – from the physical to the spiritual.
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SOURCE Global Times
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