Bottrt Blacht's artistic practice is widely involved in drama、Poetry and novels and other fields，Especially his epic drama (narrative) drama theory，Make outstanding contributions to the reform of the world drama and the development of drama theory。Many studies in the past，Most of them focus on the significance of Blacht's influence and reference on Chinese drama，Ignore the impact of Chinese art on its artistic theory and creation。But it is not difficult to find，Whether in its drama theory or artistic practice，We can all see the impact of Chinese art on him directly or indirectly。Literary Theorist Grim believes that the theory of Blachter's familiarization theory is affected by Chinese operas，He stated in the article "Several Perspective of the nature and origin of a concept": "，He only got it later: This is his meeting with Chinese Peking Opera actor Mei Lanfang。Mei Lanfang's conscious、Keep the interval、But with a highly artistic performance style，Extremely excellent reflection of strange performance methods。”

Specifically，The direct impact of Chinese art on the art of Blacht's theater is reflected in his drama work on some concrete drama methods。For example, there is a prelude in "Caucasian Gray Lang"，Blacht called this prelude to wedge。This is obviously borrowed from the "wedge" and "folding" drama structure of the Chinese Yuan Dynasty's miscellaneous drama。"Sichuan Good Man" prelude，bet365 best casino games Blacht let the water -selling Pharaoh explained his identity as soon as he introduced himself with a "monologue" style，and the reason why the fairy came to find a good person。In Western Drama，The identity of the character always rely on the development of the plot and the dialogue between the characters，It's hard to see this kind of Chinese opera -style "self -reporting door"。In addition，His drama theme and content also continue to join Chinese elements。"Caucasian Gray Lang" is an adaptation of the Yuan Miscellaneous Drama "Gray Lang"。"Sichuan Good Man" chose the location of the story in China，The book of the imagination of Pharaoh's reading in the play is the "Zhuangzi" by the ancient sages of ancient China。

but，aside these direct performance elements，The deeper impact is the recognition and acceptance of the Chinese aesthetic tendency behind the characteristics of the traditional drama "programming" characteristics。

First，Chinese traditional aesthetics to emphasize the golden mean，Zhongzheng、Pinghe is a major feature。We rarely see actors of traditional Chinese opera on the stage to show a hysterical state，Even the big emotional fluctuations are hidden in the weightlifting movement。For example，​​When a person shows a person's anger，Maybe the actor constantly shakes his head and braids，External emotions of anger into specific actions。This kind of restrained、The subtle way is exactly the way Chinese art expression beauty。Western drama actors are different，They try their best to guide the audience to approach their performers and characters。For this，They try to turn themselves into characters bet365 live casino games in the play without reservation as much as possible。This is very difficult and difficult for the actors，They have to maintain a very excited state at all times，Let yourself and the character completely integrate，can the audience be immersed in "hallucinations"。For the audience，This is not a good thing。They want to integrate with the actor's feelings to be one，I can't look at the performance with a calm and peaceful attitude。For this，Blacht directly described: "Let's walk into such a theater，Observe the impact it has on the audience。As long as we look around，I will find it in a strange state、quite indifferent image: The audience seems to be in a strong tension state。All muscles are tightly tight，Although extremely tired，Nor relaxed。They have almost no communication with each other，Gathering together like a group of people who sleep together，And some restless dreaming people ... Of course they open their eyes，They are staring，But I didn't see it; they were listening to，But I didn’t hear it。They looked at the stage dumb ... like people who were evil。”

Blacht praised the calm state when Chinese actors performed，They are artificially described by programming。According to the requirements of its strange theory，The effect of this aesthetic tendency of traditional Chinese opera is to keep the distance from the actor and the interpreted object，Strive to prevent the audience from being assimilated by themselves。None of the actors nor the audience have not been imprisoned in the role。In other words，Chinese opera performances are not existed with Forth Wall。The actor performs in the three walls around bet365 live casino games him，Fully realized that my performance is being watched。At the same time, the actor will also face the audience，He clearly knows that his statement is sitting down the stage。When they turn to the audience，It is announced that the fourth wall is broken。"This performance immediately deviated from a specific hallucination on the European stage。As an inspector as an inspector, it is impossible for the actual incident on the stage to have a blind eye fantasy。A series of rich techniques developed on the European stage，Hidden the actor in the four walls，and various scene arrangements make the audience see clearly，This technique looks redundant。"at the same time，Blacht believes that European drama uses the fourth wall to isolate the audience outside the actor's world，Let them watch it in the cloakroom。and the audience of Peking Opera is not the same，They are used to expressing their positions in the theater immediately，Applause or applaud。Opera actors can always receive feedback from audiences in the audience，Then the actor cannot fool the audience on the stage，or self -expression。

Followed by morality，Traditional Chinese Opera Tonglilation to reflect morality。The division of labor in the opera is clear，fixed Facebook、Clothing，can all reflect the character's personality and identity。The quality of the characters can be described as clear。The reason is that we are good for good、Evil has its own criteria，What should people who have the morality of "good" should be like、People who have "evil" should be relatively clear，The same，What should a woman look like，What should a man look like a fixed bet365 Play online games standard。We pay attention to morality，So when shaping the character image, you will consciously and unconsciously fix these elements into the external characteristics，Let people be able to distinguish at a glance。

1935，Blacht watched Mr. Mei Lanfang's Peking Opera performance in Moscow and participated in the symposium after participating。From Mei Lanfang's performance，He saw "The focus of Mei Lanfang's performance is not to perform a woman how to walk and cry，Instead, how can a specific woman walk and cry。His view of 'Essentialness of Things "is mainly aware of the critical and philosophical of women"。Visible，Mei Lanfang's performance has been separated from the role itself，Show the essential characteristics of women。This is exactly the technical things that Blacht respected and resorted to the senses、External expression。The actor's performance allows the character to break away from individual self -self, which shows his common external characteristics。

other，Blacht believes that Chinese actors performed not only the position of the characters in the play，At the same time, I also performed the actor’s position。What the audience can see should be an performer，Two performers。The second acting object is presented through a specific set of repeated repeated and complete actions。The presentation of this multiple position is also in line with the above -mentioned one of the strangers mentioned above，Let the audience get a new position，Instead of "immersion" in the storyline and actor performance。

Finally, symbolic，The stylization in Chinese opera also projected its advocacy symbolic、Imagination Bet365 lotto review of aesthetic tendency。Terziakov described in his article that he had seen a symbolic Peking opera performance: "Chinese drama is based on programming。The actor boarded the stage，His hand in his hand is decorated with a hup -whip，Take weird steps，It seems to have gone through the wide paddy，This means he is riding a horse，When he hand over the whip to follower，That's he dismissed。In his back，Four -faceted flags fixed on the shoulders，Shake like wings，Its meaning is his commander four -way army。Some people next to him are drawn the four -party flag of the wheels，Just tell the audience that he is taking a car。Many low -hanging orange -yellow pattern patterns galloping through the stage，This is the fire。The inspector threw a small group of sudden glowing powder into the fire mantle，This means that there is lightning。"From these descriptions, we can see that the ubiquitous symbol expression in Chinese opera。and Blacht also believes in "Strange Effects of Chinese Drama Performance Arts"，The symbolic characteristics of Chinese classical opera are in line with what he said。

In short，Chinese art programming aesthetic formation of the formation of Blacht's theory has a guidance and reference meaning，He saw the unique aesthetic tendency and aesthetic spirit of Chinese art behind the stylized performance。And this formal aesthetic is unprepared with the drama characteristics he pursue "strange"。Chinese art let him see the feasibility of drama innovation he has been committed to，Because he continues to absorb and transform，Finally, I finally improved my epic drama theoretical system and creation。

(This article is the Bet365 app download National Social Science Fund's major project "Research on the Influence of Chinese Aesthetic Culture on Modern West" (17zda016) in the Phaood of Chinese Aesthetic Culture (17zda016)

(Author Unit: Fudan University Literature and Aesthetic Research Center)