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Gao Xingjian Writing Styles in The Other Shore

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Improvisation

While Xingjian provides some stage directions, the actors are expected to improvise throughout their performance. Xingjian provides little direction for the actors, telling them only to communicate "without resorting to language" or to play with "imaginary ropes." This allows the actors to explore their characters more fully, without the impediment of direction. This also fits into his criticism of what he calls the "spoken drama" of contemporary theater in which literal words and their meaning become the driving force of drama. Xingjian is interested in the ways humans communicate, control, coerce, love, and live with one another non-verbally, without words and their various constructs. Improvisation allows the actors to offer a multitude of possibilities of how humans interact with one another.

Minimalist Setting

Following the theories of Jerzy Grotowski, Xingjian has removed all but the most essential props. With the exception of the necessary lighting and some ropes...

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This section contains 603 words
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Drama for Students
The Other Shore from Drama for Students. ©2005-2006 Thomson Gale, a part of the Thomson Corporation. All rights reserved.