THE REALISTIC DILEMMAS AND CHALLENGES OF CONTEMPORARY PERFORMANCE PRACTICE

Abstract

At the beginning of the twentieth century, the proscenium stage was introduced from the West and gradually became established in China, bringing about a profound transformation in the spatial conditions of traditional Chinese opera. This transformation was not merely a physical shift, but also a process of cultural rupture and reconstruction. Once the vocal techniques and bodily movements of performers became confined within the “fourth wall,” the patterns of reverberation, resonance, and direct sound distribution that had naturally emerged in open halls and traditional theatrical stages were suddenly altered. Performers were consequently compelled to adopt modified and, in some cases, alienated vocal strategies to adapt to unfamiliar acoustic environments, while the previously fluid exchange of energy between performers and spectators was disrupted.This study employs a threefold interdisciplinary perspective integrating architectural acoustic measurement and analysis, concepts from performance theory, and the institutional transformations traced through theatre history. Through this framework, it seeks to systematically reconstruct and interpret the contextual transformation of traditional Chinese opera from the traditional（xichang）to the modern（juchang）. First, it reviews the spatial configurations and acoustic characteristics of traditional theatrical spaces. The three-sided arrangement of spectators, open-air or semi-open-air structures, and the predominant use of timber, brick, and stone collectively created a distinctive spatial and acoustic environment that naturally supported the transmission of traditional operatic vocal techniques and their aesthetic reception by audiences. The study then examines how standardized architectural acoustic design gradually replaced the flexible and variable sound fields of traditional theatrical spaces, while also revisiting the various advantages and limitations of the “black box” auditorium.The article primarily discusses the multiple forms of incompatibility between the proscenium stage and the artistic characteristics of traditional Chinese opera. For example, early modern theatres often produced a sense of acoustic dryness, while the increased distance between the orchestra pit and the stage opening created an acoustically incongruous relationship that affected the audience’s listening experience. Furthermore, the transformation of performers’ spatial perception had significant consequences. First, the interactive relationship between performers and spectators was disrupted. Second, the audience’s attention became increasingly dispersed by professionalized stage scenery, lighting, and various theatrical effects. The pursuit of visual stimulation often diverted attention away from the performer’s expressive focus, resulting in a weakening of theatrical expression and disrupting fundamental principles of traditional Chinese opera, such as “the scenery follows the performer” (jing sui ren zou), and “representing reality through the imaginary” (yi xu xie shi).The study also reflects upon and analyzes contemporary practices in traditional Chinese opera performance. It ultimately argues that the contemporary development of traditional Chinese opera should not simply involve replacing its original material conditions with new media, nor should it consist of transplanting an original ecological performance environment onto a proscenium stage. Rather, while preserving the original state and vitality of traditional performance practices, contemporary transformation should make the best possible use of the spatial advantages offered by modern theatrical environments. Therefore, maintaining an ongoing tension between spatial transformation and the artistic ontology of traditional Chinese opera, together with a cautious and continuous process of negotiation between the two, is crucial for enabling the art form to move from passive adaptation toward active construction amid the contemporary transformation of theatrical Chinese opera and ensuring its continued acceptance and recognition among contemporary audiences.