The possibility of using psychotherapeutic elements of traditional Chinese drama in modern theatrical culture

Tszin' Chenyuan Postgraduate student, Department of History of Foreign Art, St. Petersburg State University 199034, Russia, Saint Petersburg region, Saint Petersburg, nab. University, 7/9 tchenyuan@mail.ru

The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world.

Such a centuries-old history of Chinese opera serves as a clear illustration of how deeply the theater has penetrated into the mentality of the Chinese people, since its inception occupying an important part in the hearts of people, serving not only to satisfy aesthetic needs, but also moral ones. Since the time of shamanic ritual rituals, the theater has given a person answers to psychological questions and problems of various kinds that bother him, from experiences about divine moods to the moral foundations of society. Since early times, it has played a therapeutic role in people's lives to a certain extent.

One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries.

Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people.

The performance process is accompanied by special dances and monologues of the actors, which combines ritual movements, oral tradition, images and characteristic music. In the drama "no-si", a mysterious space is created, the coexistence of man and deity. The action in the ritual drama "no-si" has the characteristics of flexibility of performance, inclusiveness of content, breadth of the place of performance and individuality of the actors, which is shown in the reconstruction of the play "Kaishan".

For a deeper understanding of the idea and research of this dramatic phenomenon, the analysis can be divided into two parts: a brief study of the ritual and a direct reconstruction of the theatrical action.

The ritual itself begins with the recitation of prayers. Mentors take out some kind of tool, guess on hexagrams, draw signs, sprinkle water around themselves. Then they take a sharp knife in their hands, with which they cut the skin on the forehead to the rhythmic ringing of a bell. In time with him, the handle of the knife is manipulated and a knife is thrust into the head with a special movement. At the same time, as if by chance, they blow a bull's horn, shake a knife to these sounds, dance and stamp, rotate around themselves and hum. All this without taking out a knife. The assembled spectators, watching the action taking place, experience excitement, the tension around them increases. Drop by drop, the blood from under the knife flows into a special bowl, and the mentor continues his ritual dance. Having performed the prescribed rite, he takes out a knife, stops the blood with a herbal patch and completes the action. The audience is left with the full feeling that they have witnessed not a theatrical spectacle and not the mastery of stunt art, but a real magical ritual performed here and now by a shaman who is privy to the secret laws of the universe.

Gradually, the plot of the drama "The Opening of the Mountain" already in ancient times primarily centered around the celestial who guarded the entrance to the Cave of the Peach Spring, an imaginary place, however, according to the religious beliefs of the Chinese, filled with a broad symbolic meaning. In the modern version of the ritual drama "no-si", Kaishan is a deity or celestial being whom people call to earth to perform the rite of exorcism of evil spirits and diseases.

Usually, the presentation of any ritual drama "no-si" can be divided into three parts. In the first, the deity is invited to himself, in the second, the celestial demonstrates his appearance and directly interacts with the audience, most often with the owner of the house who called him, and in the third, people escort God back, which is often expressed in a religious procession demonstrating the end of the action. This is a complete cycle of the ritual drama "no-si", however, in this work, for a detailed and thorough analysis, the author will mainly focus on the second, main, part of the demonstration and performance of the deity, since it contains the greatest therapeutic value.

Since the drama "Kaishan" is one of the most typical and characteristic dramas of "no-si", during the action the actors are also required to perform the entrance to the owner's house. Thus, the scene can be arranged directly on the street where the owner's house is located, or in his courtyard.

The action of the main part begins with the fact that the owner comes out of his own house, hitting the drum, thereby he designates his greeting and meets the arrived Kaishan. The owner asks the deity about who he is and why he has a sword in his hand. Usually the deity simply answers these questions. After Kaishan entered the house, it is believed that he and the owner really officially met.

Then the deity tells the owner about what he saw and heard on the way from the Peach Spring Cave to the owner's house. At the same time, he dances, marking the road, exorcising demons and evil spirits and asking for blessings from Heaven. At the end of this action, he gives the sword to the owner, says a happy greeting or parting words, and then leaves. Thus, the ritual drama "no-si" "Kaishan" ends. Already at this stage, it is possible to single out the therapeutic component of the whole ceremony, which is quite significant for the host of the house.

According to the concept followed by the ritual drama "no-si", in the ratio of time and space, in a different dimension and a different speed of movement. So, during the action, the divine guest, literally opening the mountains, rushes to the earth to participate in the ritual. "His path runs through the clouds, driven by the wind" ^{[1, p. 199]}. However, viewers observe that soon after the invitation is announced, having only managed to start the difficult path, the guest already appears before the host of the house.

All the actions in the ritual drama "no-si" are virtualized and carry a certain symbolic meaning. Every movement and gesture serves to enable the actors to portray some characters who are actually imaginary and do not exist here and now for the audience.  The performers complement it with their own life experience and special knowledge and therefore play convincingly for the audience.

Actors in the drama "no-si" "Kaishan" wear theatrical masks on their heads, are armed with long spears and short sticks resembling clubs (Fig. 1).

Fig. 1 An actor playing the deity Kaishan in the drama of the same name

The actors' movements are classically simple, sweeping and daring, and at the same time soft and elegant, witty and ironic. They can be divided into several groups that need to be analyzed in order to better understand the staging of the drama "no-si" "Kaishan" in an attempt to reconstruct the performance.

The first group consists of dance steps. They can be steps with a jump, large jumps from side to side, coordinated symmetrical movements of the left arm and leg and the right arm and leg. The same movement can be repeated many times. "Kaishan" is a symbol of the deity, so his steps are energetic and furious to display all his might, and contribute to the creation of a majestic atmosphere.

The second group combines all the gestures used by the actors during the performance of "Kaishan". This can be bending the knees, shifting the center of gravity down, lifting the chest, moving the shoulders, retracting the abdomen. At the same time, the trunk is maintained in a toned, not loose, but not stiffened position. Gestures have a special classical simplicity, sharpness and conciseness and other characteristics of similar movements in the ritual drama "no-si". They are also aimed at demonstrating the characteristics of the mighty impulse and at the same time imitates the behavior of the deity Kaishan.

The third group includes movements that represent swinging an axe. They convey the simple, strong and sincere spirit of the countryside. The significance of these movements lies in the symbolic fight against diseases and in scaring away and expelling evil forces, werewolves and demons.

In a separate, fourth group, movements with a sword are combined, usually chopping or cutting, and sometimes even executing. Despite the apparent rigidity of such movements, the hidden meaning and message of these actions is to direct a person receiving therapy and waiting for a cure to a smooth and smooth path without hindrances and further obstacles.

Dialogues and monologues in the ritual drama "no-si" are usually called "haoshi" (Chinese howling poems). From the Chinese translation, the nature of the replicas becomes clear: abrupt, menacing and loud, which corresponds to the character of the deity Kaishan.The texts of the drama "Kaishan" also have several very characteristic features. The actors' replicas are based on the circumstances of an ancient legend known to the audience, which draws them into a mysterious and mysterious space where people and the deity can find together.

It is also necessary to pay attention to the mask "no-si" in the drama "Kaishan" (Fig. 2). As already noted above, the mask is a symbolic sign of no-culture. In addition to performing the artistic function of external beauty, and creating an image, it also performs another important role. The mask completely interprets the symbolic play in the drama "no-si". With its help, the performer can communicate with people, ghosts and gods.

Wearing the mask of the deity "Kaishan", the actor temporarily becomes this deity himself and receives the same abilities and powers as he has. Thus, he can expel evil forces, werewolves and demons.

Fig. 2 The ancient mask of the deity Kaishan from the ritual drama of the same name "no-si"

Illustration 10, which depicts an ancient mask of the hero of the deity Kaishan, shows how a man and a wild beast literally merge together in his image. Eyebrows are like tongues of flame, eyes are huge, round and bulging, a wide nose, a large mouth, fangs protrude fiercely from the mouth, above his forehead he has a "bronze mirror" and an engraved hieroglyph of letters. "the prince." He looks angry and ferocious, which creates a very impressive visual effect. It should be noted that this bestial appearance of the mask and the Kaishan deity itself is in no way directed against a person or to frighten him, but only to scare away evil forces with the help of such a ferocious image.

The mask plays an important role in the process of performing theater therapy, it serves her in its own way. After the actor put on the mask, he once again reminds himself, the owner, and the audience gathered around that they have now entered another world, or at least another dimension, where Kaishan communicates with other deities next to people.

The main character of the drama, the deity Kaishan, is mainly responsible for the brilliant, bright future of people and protects their safety. During the presentation, he can talk with humor and jokes and communicate with the audience in a dialog form. This character has qualities such as perseverance, wit and responsibility.

Such a positive image of the hero can easily lead to the achievement of an effective positive effect, which in the process of psychotherapy. If a person has mental problems, he needs a similar hero nearby, who is extremely sympathetic to him, in order to guide and help him or even in some cases serve as a role model and subsequently induce changes in the heart and soul of this person.

You can clearly see the stage setting and props characteristic of the drama "Kaishan" in the documentary "Traditional Chinese Opera" (2017). According to the plot, representatives of the village of Nangan in Shanxi province invited a well-known theater troupe of the drama "no-si" to perform a ritual drama with a prayer for well-being in homes Nangana.

The mentor of the troupe, accepting the invitation, took his assistants with him and came to the place to draw up a diagram of the performance and think over the location of the stage as the main place of action. Usually the stage space is arranged in the living room of the owner's house or in his courtyard and is played out accordingly. So an ordinary place becomes a hall of "but". A solemn and reverent atmosphere is created in the "no" hall, which will later serve to immerse the audience in an incomprehensible field of religious knowledge.

Then a kind of altar is carefully arranged there, a place of offering sacrifices to spirits and deities. Performers approach the arrangement of the necessary attributes for the presentation of "no-si" extremely seriously. Usually the whole process can take 3-5 days.

The main props used in the presentation of no-si "Kaishan", and the furniture of the hall "no", which serves as stage decorations, can be divided into four groups.

Firstly, the memorial decorative arch. A decorated arch is being constructed opposite the stage (Fig. 3). Memorial decorative arches are usually made of paper. After the end of the "no-si" performance, they are burned. This symbolizes that bad events have been eliminated from life, misfortunes and sorrows have been removed.

Fig. 3 Memorial decorative arch for the drama "Kaishan"

Secondly, the altar or altar. A special table is placed in front of the arch, designed for offering sacrificial gifts. There are carved wooden statues of the main deity "no" and a small Taoist hermit-celestial and a statuette symbolizing his wife.

Thirdly, small items of various props and other utensils. Tablets with texts, fortune-telling symbols “bagua”, a knife or sword for a mentor, a Taoist jade medallion used to expel evil, a tablet and the names of ancestors, a ribbon for the head, cattle horns, a whip, as well as other ritual utensils are laid out on the altar. An iron chain is laid along the bottom of the altar, and knives, swords, spears, clubs, axes and other props used during the performance are placed around it (Fig. 4).

Fig. 4 Some props used in the drama "Kaishan"

Tools that represent props are used by performers as a means of exorcising evil spirits. This action unfolding before the eyes of the audience also has a symbolic meaning. In different representations of the drama "no-si", the same identical props can be used, since they carry only a symbolic meaning. The main meaning of all these things is to make the audience believe that there are real genuine gods on the stage in front of them.

And, fourthly, it is a rack on which several painted pictures in scrolls are hung on both sides of the arch. Among the plots there are usually "Three pure higher worlds, the abodes of the Taoist deities", "Three supreme deities", as well as "The scheme of the altar for the mentor" (Fig. 5). The role of the memorial decorative arch and the rack with scrolls is approximately the same. Both of them serve to create a mystical space.

Fig. 5 A rack with hanging scrolls serving as the scenery for the drama "Kaishan"

The creation of such a hall is akin to the construction of a space in which, having descended to earth, the deity Kaishan can exist. In addition, such an atmosphere has a convincing power that helps the viewer to believe that they are in a special place of coexistence of man and deity. The mentor makes a prayer to the gods, after which he can place the figurines on the altar, since this place is designed specifically for them. After this moment, the presentation of the drama "no-si" can really begin.

In the ritual drama "no-si" in general and the performance of "Kaishan" in particular, musical accompaniment plays an important role. So, but-the ceremony of "Kaishan", which includes the ritual of exorcism of demons and pestilence of epidemics is accompanied by bells, drumming and the sounds of horns. According to the traditional views of the Chinese, loud sounds themselves also have the ability to fight evil forces. Thus, the loud soundtrack of the drama "no-si" is "intended for the expulsion of evil spirits and the transmission of battle signals" ^{[2, p. 58]}, which, according to the legend, which was studied in the part of this work devoted to the general principles of the ritual drama "no-si", are transmitted by the sound of horns since ancient times.

Chinese researcher of traditional opera Ji Yi in his 2017 article "Aesthetic deep visualization of dramatic music in the space and time of art" expressed the following idea: "Dramatic music can help viewers move from the present and real place to the space and time that the performance on stage offers them. A deep, thorough and metaphysical perception of artistic time and space is achieved by creating, reproducing, processing, coloring and decorating a complex combination of soundtrack and dramatic music. When the viewer is immersed in imaginary time and space, real time and space form the corresponding theoretical objective time and space" ^{[3, p. 114]}. In the ritual drama "Kaishan", the audience is immersed in a special space created by the musicians, which is different from the real world around them.

The theoretical foundations of the scientific concept of psychodrama were developed in the mid-twentieth century by the American psychiatrist, psychologist and sociologist of Romanian origin Jacob (Jacob) Levi Moreno (1889-1974). Within the framework of his concept of psychodramatic action, J. Moreno offered to lose a situation that had caused psychological difficulties in the past. With repeated losses of psychodramatic sessions, the drama of experiences decreases and "not only liberation from psychological severity, but also laughter comes to the subject" ^{[4, p. 35]}. J. Moreno based his method on the idea that people are essentially actors who play various social roles throughout life.

Currently, experts led by P.F. Kellerman agree on a neutral definition of psychodrama, which sounds "like a specific psychotherapeutic method, an approach to solving psychological problems" ^{[5, p. 31]}, in which "clients continue and complete their actions through theatricalization, role-playing, dramatic self-expression" ^{[5, p. 31]}. 31]. At the same time, various theatrical elements can be used, such as role-playing games, storytelling, improvisation, masks, dolls and other objects, as well as full-fledged performances.

Dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. Moreover, as an ancient method of treatment used by the ritual drama "no-si", it has existed for much longer. Such concepts of psychotherapy as "illness" and "treatment" are also considered in an adapted version. Representatives of the group that takes part in the ceremonies of the religious drama "no-si" do not always suffer from specific psychological problems, often these are general depressive moods, to get rid of which the positive effect that the ritual drama "no-si" gives is enough.

The term "disease" here is a condition of an individual in which he himself does not want to be or which may entail any threat to the existing situation in his life. Within the framework of a ritual drama, anything can be a "disease" for viewers: from the unrest they want to get rid of to various kinds of natural disasters. This is primarily due to the fact that for them such phenomena are the result of punishment by the gods or the invasion of evil spirits into the life of society. Physical and mental discomfort caused by these factors belongs to the category of mental illness.

The term "treatment" implies a religious healing activity, which is embodied in the form of rituals, which is a kind of treatment of an existing disease. The ritual drama "no-si" can be performed in various ways according to different patterns for both the individual and the collective. A group of people representing a state, an ethnic group, a city or a village may periodically conduct rituals, that is, in this case, ritual dramas "no-si". At the same time, ritual ceremonies can also be performed for individuals, for example, in order to treat diseases, get rid of severe torment or prepare for departure to another world.

Chinese researcher Zhou Huabin expressed the following thought: "If you think about the psychological origins of religious sacrificial dramas, they will appear to be nothing more than a kind of ceremony of reverence and greeting to the gods, which is carried out with the hope that the gods will help people achieve their ideal aspirations. ... of course, this already belongs to the category of "dramatic psychology" ^{[6, p. 31]}. Zhou Huabin was one of the first to point out the psychological impact of the ritual drama "no-si" on people.

Another Chinese researcher Wang Bo's article "On the psychotherapeutic function of Art in religious ceremonies" reveals the reasons why religious ceremonies are considered to perform the function of psychotherapy. They mainly consist in the fact that "religion deals with the manifestation of direct relations between a person and the outside world" ^{[7, p. 57]}. People essentially pin their hopes on alleviating the suffering of the spirit, striving to achieve a balance between themselves and nature. Such desires were common among people in ancient society, when man's ideas about the structure of the world were primitive. However, similar views and beliefs have persisted in remote mountainous and tropical areas of China to this day.

Thanks to the simple, laconic and naive stories of the viewers of the ritual drama "no-si", who are both subjects of therapy, it becomes obvious the significant psychological impact they are experiencing. It is important to note that these people do not doubt this method of therapy and prevention of diseases and are convinced of its effectiveness.

Before therapy, viewers may experience panic and anxiety. During the performance, they immerse themselves in the process of therapy, thanks to their faith, in the fairy tale around them and in the arrival of the deity in their home. They are convinced that after the end of the performance, the existing psychological problems, in the form of extreme concern for loved ones, were solved by the deity, and they themselves can finally relax.

Such a therapeutic psychological course is similar to the methods of modern theater therapy. Basically, it is based on the fact that the subjects of treatment come to the studio of dramatic therapy, where they talk about their own experiences and experiences and at the same time, under the guidance of a specialist, they are treated through various role-playing games. In the process of such treatment, they constantly solve their various psychological problems.

The ultimate goal of both of these methods is to solve the internal mental problems of the subject. The only difference is that the result depends on different things: on an imaginary deity or on one's own psyche and mind.

All the elements of the ritual drama "no-si": the arrangement and decoration of the hall, movements, replicas, props and costumes, are preparation for the realization of its psychodramatic function. The unhurried immersion of the subject in the representation entails a gradual conviction in the power of his action. In the performance hall, no-si creates a mysterious space around the viewer. Masks, costumes, and dance moves help convince the subject that the performer has psychic abilities and can heal him. The actor tells a story about a deity to make the feeling of conviction even stronger.

After the subject has completely immersed himself in the action taking place, attention is transferred to questions about the cause of the disease and other factors troubling the subject. The deity shows the owner of the house a bright path, expels demons and evil forces, asks Heaven for happiness and blessing. All doubts related to the situation in his life cease to bother him, because he believes in a positive outcome.

The ritual drama "no-si" clearly demonstrates how primitive and ancient people used shamanic rituals to combat the harsh natural environment around them and the trials of fate. For example, there is a belief that "no-si" can expel pestilence. Ignorance or disbelief in scientific laws encourages people to turn to divine powers for help. For such people, communication with the supernatural has a certain psychological effect, which has a calming effect on the state of a person's mind and psyche.

With the continuous progress and development of society, the scientific knowledge of mankind about the structure of the world around is expanding. People are getting rid of faith in the almighty divine powers. Psychological problems of various kinds remain to exist with a person. Today they are often associated with the pressure of society on the individual and with the search for harmony with oneself. This naturally affects the normal development of the human psyche. Psychological drama, interdisciplinary drama therapy, psychodrama and other branches of this method of treatment have arisen to help a person cope with this.

Can the experience of the ritual drama "no-si" be directly applied to modern theater therapy? No-si healing methods are based on religious beliefs, and their effectiveness, in turn, is based on faith in mysterious forces. Can society allow this mysterious force to come back to life? Or can it be used only as a theory?

Researchers have different points of view on these issues. Some scientists are actively looking for connections between dramatherapy and rituals. One of the Chinese followers of J. Moreno Feng Xuete believes that "rituals associated with witchcraft and exorcism basically have a strong dramatic component, therefore, a close connection should be traced between psychological drama as a branch of dramatic therapy and similar rituals" ^{[8, p. 108]}. Another researcher, who has studied shamanic traditions for more than thirty years, also believes that "the essence of dramatic therapy is substantially based on the structure of shamanic healing rituals" ^{[8, p. 108]}. As noted by one of the American researchers L.H. Charles in his article "Drama in shamanic exorcism": "In relation to diseases, the main function of the shaman is psychotherapy, his method, which he uses in his rituals is drama" ^{[8, p. 109]}.

However, other scientists who have questioned the possibility of applying the experience of ancient healing rituals in the modern era say that, as an independent discipline, "dramatherapy is developing so rapidly that it cannot include the introduction of other, especially ancient cultures" ^{[8, p. 109]}. In addition, they note that "its principles, as a scientific method, are too radical to find a balance with ancient rituals" ^{[8, p. 110]}. They emphasize the importance of understanding that dramatic therapy is not a ritual, and a dramatotherapist is not a sorcerer or a witch doctor. It is important to remember that the modern therapist is in a completely different cultural and ethnic environment.

Swiss psychiatrist Carl Jung (1875-1961) proposed the whole concept of the persona mask ^[9], which finds echoes of the ritual drama "no-si". When an actor puts on a mask, he becomes a deity, a spirit. This is the other side of his personality, which has such authority in religious society that it can expel diseases and evil forces.

So the mask in the process of dramatherapy is a projection of the psychological personality of a person. In the process of implementing such therapy, you can start by trying on a mask, which will help people understand, mitigate and solve some of their social and psychological problems and obstacles created solely by their psyche.

Preparation for the presentation of the ritual drama "no-si" takes up to 3-5 days. This time is required to carefully create a unique atmosphere of the mysterious religious world. Such a thoughtful game space "no-si" can also be used in modern drama therapy.

 Treatment sessions can also be carried out outdoors. In the ritual drama "no-si" originally there were solemn and sacred places for ceremonies. Usually they were located outdoors away from residential buildings, which contributed to the unity of man and nature. Based on this practice, it is possible to transfer the sessions of modern drama therapy to open areas, go to nature or go not far to the nearest park. This will certainly have a positive effect on the results of therapy, since it has a calming effect for a modern person who spends most of his life in the realities of a megalopolis.

An important role in the ritual drama "no-si" is played by musical accompaniment. Sounds such as gongs, drums and a ram's horn, as well as "spells" and prayers create a special atmosphere for the audience to enter this special state and feel awe. Various sounds can also be used in modern theater therapy to create a unique "sound space" that can immerse the subject in the action that takes place on stage in front of him or around him. Special psychological effects of music can be used to eliminate psychological barriers and restore psychological health by solving psychosomatic problems of the subject.

Among other things, when talking about the development of drama therapy at the present stage, one should not forget about the use of high technologies. Virtual reality programs in various manifestations are found more and more often in the modern world. They can be used to recreate various theatrical scenes during the treatment process and immerse the subjects in other circumstances. However, it should be borne in mind that the impact of virtual or augmented reality technologies on the human psyche has not yet been fully studied. It is important not to overload the already restless state of the subject, so you can use such technologies carefully, in case of maintaining a positive effect, gradually increase such time in sessions.

Despite the huge differences between no-si ritual drama and theatrical therapy, researchers can nevertheless easily discover their advantages and provide a reference value for modern dramatic therapy.

Of course, some experts remain skeptical about such problems. However, at the present stage, the scientific community should still show some flexibility. Various interpretations of plays from centuries ago are regularly staged on the modern world stage. A striking example here are the plays of William Shakespeare (1564-1616) "Hamlet", "Macbeth" or "Romeo Juliet". The main thing that characterizes all these productions is that they are constantly adapted by different directors to the needs of the time. They can indeed constantly interpret the new meaning of time, but these dramas written five centuries ago can still reflect them.

In the same way, in general, the ritual elements of no-si drama and shamanic experience can both be used in modern drama therapy. It is not necessary to completely ignore this complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. To date, the fact of hereditary relations between these spheres is indisputable. However, changes in the context of time do not allow modern dramatic therapy to fully restore ancient healing rituals.