infinite expression in  theatre

The inanimate rhythm of lifestyle is increasingly sweeping the globe, with the unlimited fast transmission of television and film industry filling peoples’ lives. Theatre industry can not compete over the movie industry However, theatre is really valuable because it is a visual treat, but that is not the main point. The point is regardless of how television and film industry to achieve true sensory stimulation, it can not be denied that the initial set point is one of expression. The impact for the human is inferior to the unique communication in the theatre as emotions and feelings are exchanged strongly within the theatre space. This trade is simple but alive, most original, most personal, and most useful. This exchange happens in the simple way could exceed the limitative medium of  rich TV and film industry. The theory of poor theatre  put forwards of cutting other elements expect two essential factors of audience and performer.  “we have resigned from the stage-and-auditorium plant: for each production, a new space is designed for the actors and spectators.Thus, an infinite variation of performer-audience relationship is possible ”  Grotowsk( 1991:20) With respect of Grotowski’s work , the main interest of this paper is to consider about the  infinite express in a theatre which based on performance in simple and empty theatre space.   This paper analyze in both of the space part and perform part. Explore space as the medium of the most efficient way for expressing; then The discussion will then moved to the point that of trigger based on the space medium. It will look at examples of Peking Opera and made compare its method with the actor’s training method.

To begin with, the paper focuses on the idea of “empty” theatre space is a good medium for an infinite relationship between performer and spectators. The discussion them moves to the point of the trigger for imagination space of audiences which is performing.

The method of filling up the imagination of audiences and combination between perfumers and audiences is not padding but reducing and leave some space for imagination. Spaces regarded as the necessary container for theatre events. However, it needs to be simplified that made into an entirely bare space literally not space will be an efficacious method for presenting theatre.  It means empty in the environmental field which helps delete all the elements which are not essential in theatre events. It helps that both audiences and performance to pay more attention back to themselves, the notion of theatre itself and the interaction between the. The topic regarding the three functions of the empty space is physical architectures, pure space and its contribution to the hypothesis space with unlimited imagination.

Architecture theatre has their own atmosphere, local conditions would be considered.  atmosphere of one specific theatre would be decided by different elements such as address, architecture style,interior structureIf. It is common that before a play production, producer would make a choice of the architecture theatre. Not just consider the dimensions of measurement of stage and auditorium, but also, more important , they are trying to understand what theatre are presenting.  Not to mention site specific theatre which is very much rely on circumstance.  It is much more enlarged regarded. ”I maintain the stage is tangible,physical place that need to be filled and it ought to be allowed to speak its own concrete languages.”Artaud,A (1958) That is very obvious that if people set a horrifying play into a space which has dim lights, run-down stage and creaking wooden floors,  and it located in a country which is inaccessible.The feeling the experience of “ terry” relate to real life experience by audiences started before the play starts.Moreover, this atmosphere and feeling which created by space itself would be more natural and expressive than any other artificial formed of “decorative stage which might be a idea medium for presenting theatre events. However, it does not means that theatre should be set in specific atmosphere “naturally” somehow for helping people to feel it. On the contrary, If theatre space is already set into a particular style, or story tone by decorations, its narrative, and spatial expression will be significantly limited. too much decorations what ever it comes from nature or artificiality would offer a concept of preconceptions.Besides, there is another issue of the first impression. For this first expression, this atmosphere and feeling would play an orientation role for both obtaining and digesting of the theatre events of the audience. Condee (1995 )” agree “ … …most important step and one all too easily rushed through—is the first encounter with the theatre space which it is an experience that cannot be repeated”. Take the terry theatre this paper mention above as an example.In that kind of space, people would expect easily for some blood kill, or thrilling story. It might be designed in to some other kinds of stories while the element of “terry” is kind of necessary for it.  Obviously  this “preconception” and ”empathy” comes from life experience would limit the creating in theatrical space either the imagination of audience.

The empty space idea brought by Peter Brook, who follows the theory of poor theatre by Grotowski, asserted that something is not relevant to the theatre should give up, no any extra decoration in it, including makeup,  costume, lights. This solution is aiming to give a pure space, and trying to pure audiences’ from much life stereotypes so that it could be a net intermediary for presenting the core idea of drama.Some people talk about the advantage of seeing a theatre empty, they mentioned a word “ neutral” and “free to create” (Condee,W, 1995)  In another word, because it could make rules inside of this space, tables could be a tailor a chair could be a hand.  Every single rules brings from daily life could be broken and reestablished.  People could walk in opposite way. It means the connatural assumption could be moved out from the theatre while get something different from that. Take my own work Oedipus as an example, I use many thread for presenting different scene. This scene are all not in a typical shape or order. The design of it is very relying on the plot. This set would be design as a multiple moving installation. Thus, the predictability of scene shifting will continue to be reduced, freshness and curiosity of the audience will continue to increase. This set could be a reverse or an uncertain manner. There is no doubt that to some extent, it did stimulate more of audience’s imagination.When people add metaphor into that, his solution might offer the audience a different view of thinking. This is also a way for breaking the stereotype. Hence, if the definition of theatre is a space where a performance takes place, a pure space might be a suitable medium.

Based on the “empty space” in a theatre as a medium , hypothetical space is leading an applicability for a theatre.Hypothesis: the original Russian. Russia “условность” and the verb “условцться” S belong to the same word etymology, meaning “the Convention” and the English “consent.” Sassy gave an explanation of dramatic art a convention thing, people rely on the help of this stuff, the performance giving the audience a realistic illusion. Grotowski emphasize the importance of performers and regard performance and spectator as the only main points contribute to the exit of theatre. Following their understanding, from the very essence, this two are more like a narrator and recipients. The narrator expressed, then, in the recipient’s mind, combined with his experience of life and the formation of space and time, is hypothetical.Try to imagine a picture: No other things exist on the theatre ( no disturbance),  a performer is knock on the door as the action in the air, then unscrew the “door handle” and carefully boast a big step. A life experience audience does not need such an entity “door” to realize that he may enter another space. This based on “hypothetical” treaty, which established theatre image. The transformation of space and time freedom will be very unlimited.  “……the show once seemed ponderous and creaky, but the closer we move towards the actual nakedness of theatre, the closer we approach a stage that has a lightness and range far beyond film or television” Brook, P(2005) we could take transitional Chinese Peking opera as a test case into detail. Traditional Chinese Peking Opera works without the concept of ” the fourth wall”, therefore, it would never be fixed concept of space also never not strictly bound by the logic of life; space itself has always been its “empty” in.  The most classic is its scenery of Peking opera is a square upon the stage with a table and two chairs – it would be different thing since performance gave them specific meanings.  For instance, when a performer is standing on the table and doing the cation of  look-out, it may have the meaning of a mountain. Or when performer walk along the stage and turn a circle,it may represents that he just had a distance of travel. With the performer’s actions, there is no necessary of shift of scenes or big screen.   In summary,whether theatre exist in East or West , there is a necessary assumption of the difference space and time between reality space and theatre space. Meanwhile, there is necessary to have a hypothetical reason for their existence as drama prerequisite.

Turning now to the second perspective presented in this paper: the trigger set in an empty theatre.If we have theatre space as empty as the potential power of theatre, “trigger” of this latent imagination could be the same thing which distinguishing it from a naturalist.This topic is regarding the act training theory of Grotowski, comparing it with Peaking Opera on the aspects of stylized performances meaning and analyze them on the contribution of the imagination of audiences and combination between perfumers and audiences, then, it will moves to the substituting of audiences.

The body as a trigger would create a strong substituting for audiences. There is a important character of theatre events that narrators and recipients are the same creatures. Vivid human bodies might be the most vital  and intuitive physical insignia. The illusion of natural will be much more easier to created based on an empty space.  The truth is, human bodies are not only creative tools , creative materials, but also as the finished product by creations.At the same time, this creation stuff is same as audiences as its embracer. So it will never be isolated to others but all of the factors mentions above would contributes to creating illusion of substituting between two of them.  As the creative tool, performers can develop theatre events by their response to the work.  “ performer’s self is exteriorized and transformed into the scenic gives off the production. “ Richard( 1973)   Comparing with reactions of a performer, it might be more suitable for describing it as the nature creation and feelings by a body.  This creation itself comes from the bodies;  characters posture; movement. At the same time, every conducting is a creative process. This process will be imperative to be as a tool.  As the creative material, Grotowski attaches great importance to the actor’s facial expressions control. The expression could be the shift in various ways: disappointed, bitter, cold. Moreover,the essential part of performance is the combination of spirit and body.  Actor has his own body as the basic material for the art,   there are various parts of the body, gestures, posture, rhythm. There are also sound sections, including the sound emitted by actor, such as moaning and yelling, clapping voice of beating on bodies.  The creation of these materials differs from other materials, they all have their temperament, such as thin people and fat people stomping and wheezing, the effect is not the same.  As the finished production by creation, it is “same” to an audience. Anything happens in theatre stories and any movement performers done would become a strong sense of substituting. This substituting would influence people directly while it provides audiences another perspective for understanding things. This substituting sense would enlarge imagination space which points from theatre then enrich to the Naturalism world.

The reason why Grotowski deleted other elements in a theatre is that he thought that actors and their movements could create theatre.  Indeed, the elements leading an authentic Illusion as a trigger for audiences could be bodies and body movements. The method they are using for producing this trigger comes from stylized performance inspired daily life. Especially body movements, audiences with life experience could easily recognize the actions that are presenting action from life context. Physically, moving mouth may mean eat or speak; get more into emotion, brisk pace or heavy pace may mean happy or sad emotion.  When the “Stylized performances meaning” are link up into a Narrative context, stories could be illustrating by performing.   /  Take the door example again, if we want to describe this “action”, this “notion” to others, we could say how it feels like and how people “opened a door,” however, there is no actual “shape” and “appearance” of that experience. This is highly symbolic so that details can not be express clearly. Actually, details are not important anymore. This “door” here, could make of any material, with any color. The thing we want to express, is just the door itself which created by performer and the action of “enter” made by the performer.  Combining with the life experience, a straightforward and typical movement could lead out with imagination.

Nonetheless, stylized performance as the “physical”  consequent of body and body movements is not alway good for expanding the imagination of audiences.  Conversely, excessively stylized performance would limit imagination theatre. The example of Peking opera taking an empty space as a medium. Meanwhile, a typical drastic form of “emphasizing performances” is used on the stage. By the stage of no scenery, theatre stories narration are very much relied on the Highly virtualization movement, and   Highly stylized dance by performers.Xiaoying( 2005). For instance, Normally, actors trained separately by their age, gender, the shape of body and appearance.there are a young lady taught as a young girl in theatre stories. Her steps, her movement, her face, the focus she is looking and even angels of her action are all trained in a way which is different from a middle-aged lady who often play characters as the mother. Whereas, like a young girl has her method for performing because it is too programmable to have a combination of practical life. Besides, someone is trained in a way that different with his sex and age is also acceptable if this person did his training very well.  There will be no strange gap or permutation feeling when he is playing a young lady. This typical training combine experience from life and exaggerated gestures wherefore all of their relationship and delicate inner emotional activity are all conveyed only by their movement which all symbolized. Thence, audiences could have a sense of characters directly by their perform and experiences from life. That is the way of actor training in Peking Opera: everything of characters is ordered. Similar as Grotowski, It is imperative for actor training in Peking Opera. However, some rules already written in that perform and can not be changed. That is the limitation of the relationship between audiences and performers.

In conclusion, a key aim of this paper has been attempt to think about the infinite express in a theatre which very focus on its medium , the empty space and the trigger of perform. The notion of this idea is based on Grotowski’s theory of poor theatre. Some examples and comparing are done of Peking Opera. In the notion of space as a medium, this paper gradually analyze three functions of the empty space of physical architectures,  pure space and its contribution to the hypothesis space with unlimited imagination. Then, this discussion moved to the perform part with two aspects of  stylized performances especially created by Peking Opera and substituting sense of audiences created by performance. This analysis are listing to proof the idea of the  essence of theatre and its vitality could exceed the limitative medium of  rich TV and film industry. I wish the charming of wider area in theatre and performance would be noticed more.

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