Presentation on theme: "Mao privileged arts, performance and literary a great deal for his propagandist measures. To reduce the domain of China’s Feudal Culture To incorporate."— Presentation transcript:
Mao privileged arts, performance and literary a great deal for his propagandist measures. To reduce the domain of China’s Feudal Culture To incorporate literature and the arts in the sphere of revolution For artists to understand the ‘correct’ class stand- the proletariat For any cultural medium to undergo the Marxist-Leninist education, and writers be not any exception
The Artists Struggling to find a class stand Belonging from intelligentsia Unable to stand for revolutionary workers Struggling with quality in terms of creating a mass style in their work
Text worked and re-worked to fit the new socialist agenda ruling the milieu prior to the 60s
Instructions for theatre circles Scenes to be altered in order to classify the class struggles as the primary demarcation between characters Method of polarisation was adopted further to highlight the enemy( Ruling class), versus the good ( working class)
Moving from an aesthetic of form and technique towards reinvention of a more political and contemporary form A complete dissolution of the established tone of the form of theatre The loss of a musical theatre ‘listening theatre’ towards a spoken theatre
Unification of the two Love as an abstraction and popular theatre is no place for it Rejection of the normalcy created by the artists over bourgeoisie subjects For artists to work towards a popular production, for a more pedagogical agenda for the working class
Will the creative then survive ? Questioning creativity as an agency of the feudal propaganda Hence, justified to destroy this method and form of creativity
Not a complete rejection of the traditional aesthetics To truly understand the nature and intent of traditional forms and to realise the need for a contemporary form, only to transform and actualise this intent as purely for the masses Exercising equal strictness to maintaining the newly evolved revolutionary form at all cost
The most important aspect would be the ideological stance of the play The characterization would be fixed Personalization of the techniques, almost as a break away in the established forms of theatre.
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