One of the most famous theater directors in China’s avant-garde theater is Meng Jinghui. Meng Jinghui became attracted to Chinese literature while completing his secondary school education. Meng Jinghui became interested in acting while pursuing an undergraduate degree at the Capital Normal University. Meng Jinghui perceives that his debut into acting was a causal attribution of a metamorphosis in his life. Meng Jinghui’s initial acting part was that of a Kuomintang infantryman, it was a silent part. Meng Jinghui’s first speaking acting part was as a chef where he stated: “Meal time, meal time”. Meng Jinghui acknowledges that the art of acting open a window for him to all of the advanced cultures of the world and their diverse literary perspectives. As a college senior, Meng Jinghui was introduced to avant- garde playwrighting when he readapted the Story of Western Chamber. This was a Yuan dynasty romantic opera. Meng Jinghui adapted the romantic opera into a modern comedy with three distinct endings. One of the endings was an adaptation of Henrik Ibsen’s A Doll’s House. While studying at the university, Meng Jinghui was able to interpret works by Pinter, Ionesco, Beckett and Genet. Meng Jinghui learned that farcical theatrical presentations reaffirmed the concepts which he would late apply. These concepts consisted of injecting comedy and musical interludes into his playwrighting. In 1992, Meng Jinghui was able to find suitable employment with the National Theatre Company of China. This occurred consequent to his graduation from the Capital Normal University (China Culture 2006). In the years which followed, Meng Jinghui directed over ten major Chinese theatrical presentations. Meng Jinghui’s major theatrical presentations include: Comrade AhQ, Waiting for Godot, The Accidental Death of an Anarchist, Rhinoceros in Love, Si Fan, The Balcony, I love XXX and Bootleg Faust. Meng Jinghui’s specialty is to dissect the work of other playwrights, reinterpret them and then to aggregate a comical and musical perspective to them. Meng Jinghui’s specialty also includes the ability to interpret these works and to present them within the parameters of the requisites of the Chinese government (China Culture 2006). Many of China’s leading playwrights have selected Henrik Ibsen’s style of realism as the predominant style in theatrical presentation. Other playwrights are considered in the production of Chinese theatre. These playwrights are Anton Checkhov, George Bernard Shaw, and Constantin Stanislavsky. Henrik Ibsen’s style of realism is considered in the light of China’s socio- economic context (Zhao 2010). Meng Jinghui’s theatrical presentations also represents and appeals to members of the audience who advocate change irrespective of gender (Roberts 2006). One of the most highly acclaimed modern drams in Chinese theatre is Rhinoceros in Love. This drama tells the story of a zoological park attendant whose name is Ma Lu. Ma Lu becomes romantically and erotically obsessed with a woman who is beyond his reach Mingming. Ma Lu in his incessant desire for Mingming displays a twenty first century aspect of Chinese theatre. This aspect contrasts physical desires and spiritual desires (National Theatre of China 2011). Rhinoceros in Love tells the story of Ma Lu’s desire and the beautiful and non reactive Mingming. In the drama, Ma Lu attempts to elicit desire and jealousy from Mingming y pretending to acquire two girl
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This is a fourteen page Harvard citation style essay with twenty-four works cited. The theme of this essay is the following: Chinese experimental theater is a hybrid product characterized by a convergence of extra cultural and intra-cultural stylistic elements and thematic motifs. …
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