title: Huang Zuolin and Italian Commedia dell’Arte: an experimental study in the conception of Xieyi theatre
metadata.name: dc.contributor.author
metadata.value: Di Nallo, Ileana
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2017-07-04T15:52:28Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2017-07-04T15:52:28Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2017-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Di Nallo I. Huang Zuolin and Italian Commedia dell’Arte: an experimental study in the conception of Xieyi theatre. Vestnik SPbSU. Asian and African Studies, 2017, vol. 9, issue 1, pp. 29–40.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu13.2017.103
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/6661
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Italian Commedia dell’arte was part of Huang Zuolin’s studies aimed at the articulation of his
  xieyi (写意) concept of theatre. In the Sixties, when Chinese dramas were performed according to the
  standards of revolutionary realism and Stanislavsky’s method, Huang Zuolin endeavoured to create
  a new method which supported the ideology of socialist China as well as maintaining the essence of
  national culture. Huang merged Western theatre with traditional Chinese theatre, focusing not only on
  Brecht, Stanislavsky and Beijing Opera, but also on Commedia dell’Arte in order to improve Chinese
  huaju artistic forms. The aim of this paper is to illustrate Huang Zuolin’s study of Italian improvised
  theatre and his comparative work with Chinese traditional theatre in order to create an alternative to
  Stanislavsky’s method and to promote the renovation of Chinese theatre. This paper will focus on how
  Huang traces the history of Commedia dell’Arte and its importance for the development of modern
  realistic theatre worldwide. Huang read Commedia dell’Arte as the origin of modern European theatre
  and connected it to Stanislavsky, who had an important ideological value for Chinese revolutionary
  theatre. In this way Huang directly linked Commedia dell’arte to Chinese theatre and included it
  among the artistic forms supported by the Chinese Government. This paper will ultimately illustrate
  how Huang compared Commedia dell’arte to Beijing Opera, how he connected it to Chinese tradition
  and how he suggested employing Italian theatre to improve Chinese comic theatre techniques. Refs 15.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Asian and African Studies;Volume 9; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Chinese theatre
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: intercultural studies
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: intercultural theatre
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Chinese reception of Italian theatre
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Huang Zuolin and Italian Commedia dell’Arte: an experimental study in the conception of Xieyi theatre
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 03-Di Nallo.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/6661/1/03-Di%20Nallo.pdf
resources.format: Adobe PDF
resources.size: 779,81 kB