Traditional Chinese Opera in the 21st Century: “Environmental Theatre”

Van Di ORCID: 0009-0004-8472-6542 Postgraduate student; Department of Arts; Lomonosov Moscow State University 3 Bolshaya Nikitskaya str., Moscow, 125009, Russia 302935735@qq.com Other publications by this author

The traditional Chinese opera, which has a hundred-year history of its development, has faced serious problems of the 21st century: an aging audience, competition with mass media and the changed aesthetic preferences of young people. Despite such a high cultural status of genres, in particular Yue opera, the repertoire still remains primarily focused on mature audiences, which limits the potential for further growth and preservation of the genre in the modern theater market. At the same time, in recent years, there has been a certain trend towards experimental reinterpretation of classical productions: directing teams are turning to immersive formats and the integration of digital technologies in an attempt to attract a new audience.

In this paper, the research is based on a specific case study: the production "The New Dragon Tavern", which premiered on March 28, 2023 at the Butterfly Theater in Zhejiang Province, Hangzhou (China). The film was directed by Chen Jiwei, Li Yuanyao and Tang Yuhao; the dramatic adaptation was performed by Sun Yuxi; the artistic director and producer was Mao Weitao.

The purpose of the study is to identify and systematize the key mechanisms of modernization of the Yue Opera in the format of an environmental theater using the example of the production "The New Dragon Tavern".

Research objectives:

1. Describe spatial innovations, in particular the reconstruction of the scene and the integration of the viewer into the action.

2. Analyze visual and dramatic techniques.

3. To formulate the author's model of the Yue Opera "theater of the environment" with the identification of five factors influencing perception.

In this article, the subject of the research is a set of innovative techniques used in the production of the Yue opera "The New Dragon Tavern", and the object is the process of modernization of the traditional Chinese Yue opera within the framework of the concept of "theater environment".

The scientific novelty of the research lies in the development and substantiation of a comprehensive concept of "environmental theater" in Yue opera, embodied in the author's model, which integrates set design, interactivity, digital promotion and performance aesthetics. The study demonstrates how Schechner's principles, which have so far been little used in Chinese opera, make it possible to radically change the role of the viewer, turning him from a passive observer into a co-author of the action, and also proves that active work with short videos and UGC content can steadily expand the offline audience. traditional theater. Thus, the article not only describes the unique production of The New Dragon Tavern, but forms a methodological basis for further modernization of Chinese opera, indicating how to preserve its aesthetic cores and at the same time integrate them into modern cultural and technological practices.

A detailed analysis of this production provides an opportunity to reveal the key mechanisms of its successful modernization and adaptation to the needs of a modern audience.

A wide but fragmentary body of work is devoted to the modernization of the Yue Opera. Thus, the report by Zhao Wenfu and Wang Xiaoshan (2020) records genre statistics, but does not suggest mechanisms for updating the repertoire. Aesthetic studies by Gong He (1993) and Gao Yilong (2004) show the lyrical nature of Yue opera, but nevertheless consider it only within the framework of the classical scene, without taking into account immersive forms. Case studies close to the topic - first of all, the work of Mu Hailiang, Ma Hengyi (2024) — describe in detail the box office success of the New Dragon Tavern, but leave without analyzing the impact of digital virality and the rejuvenation of the troupe. The Western theory of the theater of the environment is represented by the research of Richard Schechner (1968; 2001); they essentially formulate the principles of working with space, but are not adapted to Chinese opera. It should also be noted that the concept of "body-as-culture" by Suzuki Tadashi (2017) is important for understanding performance plastics, but it does not correlate with digital promotion practices. The present study fills this gap by offering a five-factor model of the Yue Opera "theater of the environment", where immersive set design, interactivity and UGC distribution are considered as a single system. Thus, the article unites disparate aesthetic and socio-cultural approaches, bringing the discussion about the modernization of Chinese opera to an integral methodological level.

The art of Yue opera has been passed down from generation to generation for over a hundred years. Many generations of performers have overcome difficulties in the development of this genre, using practice to promote its continuous development. Each theatrical genre that has survived to the present day has "a long history, unique artistic charm and rich cultural content" ^{[1, p. 11]}. In 2023, the production of The New Dragon Tavern broke through the boundaries of traditional perception, becoming the most significant cultural event of the year in the field of opera and opening a new way out of the crisis of the traditional opera market. This innovative attempt, combining market and artistic value, can become a model for modern popularization of traditional opera. It is worth considering whether this is a new direction for the future development of opera art.

Yue opera originated in Shaoxing, Zhejiang Province, and has distinct cultural features of the Jiangnan region. She is known for her subtle lyricism and especially for her ability to convey subtle changes in the emotional state of characters. The traditional melodies of Yue Opera are elegant and gentle, and the performing style is distinguished by refinement and elegance, forming a unique system of aesthetic values. As Gong Hae noted, this is "a women's opera performed by women, masterfully depicting the fate of women and the most beloved by a female audience"^{[2, p. 26]}. However, with the changing social environment and aesthetic preferences of the audience, the traditional art of Yue Opera gradually began to move away from the young audience, so its modernization became an inevitable path of development.

The term "Environmental Theater" ^{[3, p. 41]}, introduced by the American theater theorist Richard Schechner in his article published in the spring of 1968 in the journal TDR: The Drama Review, refers to a theatrical concept that significantly expands the traditional spatial framework of theatrical art. This concept suggests a new aesthetic approach to the dramatic text and the interaction between performers and the audience, focusing on interactivity and audience involvement in theatrical action. According to Schechner, the space of theatrical performance becomes unlimited and encompasses the entire surrounding space, erasing the traditional boundaries between actors and the audience and turning the latter into active participants in theatrical action. Schechner identifies the following six basic principles of environmental theater:

A theatrical event is a set of interrelated elements.

All available space can be used for a theatrical performance.

The presentation is possible both in a specially prepared and in a detected space.

The audience's focus is flexible and constantly changing.

Each component of the statement is expressed in its own specific language.

The text does not serve as the starting point or the final goal of theatrical action ^{[4, pp. 1-35]}.

Traditional Chinese opera is usually performed on frame-type stages using minimalist stage elements such as "one table and two chairs", which creates a simplified aesthetic environment. However, Yue's production of the opera "The New Dragon Tavern" applied the six principles of environmental theater proposed by Richard Schechner, which led to significant innovations in the organization of the stage space. The traditional framed stage was transformed into an immersive tavern interior, contributing to the creation of a full immersion effect for the audience. The set design included a central T-shaped space designed for acting performances, while the audience seats were integrated into the interior of the tavern, simulating a dining area, allowing the audience to participate directly in the theater space. From the moment of entry, the audience found themselves involved in a carefully recreated stage atmosphere, directly experiencing the events of the performance and becoming part of its action ^{[5, p. 137]}.

This stage configuration radically changes the traditional one-sided relationship between actors and the audience, allowing viewers to perceive acting, action scenes, and subtle emotional nuances at close range. Performers actively use the stage space to interact with the audience, enhancing the sensory experience of the audience. Freedom is provided for spontaneous participation of the audience in various scenes of the play: for example, the audience can be attracted to the plot at the time of the general's search for the wanted character, or involved in sending messages and receiving souvenirs from the actors. There is also interaction during the wedding scene, where the audience is given wedding sweets and encouraged to participate directly in what is happening.

Thus, this approach significantly reduces or completely eliminates the traditional "fourth wall" of the theater — an invisible barrier separating the audience and the actors. The viewer becomes not a passive observer, but an active participant and co-author of the theatrical action. As noted by theater theorist Suzuki Tadashi, the actor's body does not just represent culture, but actively participates in its creation, being the main tool for theatrical expression and embodiment of cultural content ^{[6, p. 102]}.

In the production of The New Dragon Tavern, innovative approaches in the field of visual design and the use of digital technologies were implemented. The performance uses digital projections and lighting effects aimed at creating an atmosphere of isolation comparable to the image of a "lonely island in the desert." The use of translucent tulle curtains makes it possible to effectively divide the stage space into separate rooms, giving the visual design a special depth and contributing to the creation of an atmosphere of mystery and plot tension. Such an approach to visual narrative not only increases the artistic value of the production, but also significantly enriches the audiovisual perception of the audience, forming a modern theatrical space with expressive and aesthetically saturated visual images.

In the production of The New Dragon Tavern, spatial design and visual effects are closely integrated, which makes it possible to minimize the distance between the audience and the actors. The visual narrative, implemented through digital technologies, is harmoniously consistent with the movements and emotional expression of the performers, significantly enhancing the artistic expressiveness and emotional impact of the performance. Such a deep integration of the stage space and visual elements contributes to a significant increase in the level of psychological and emotional involvement of the audience, providing them with the opportunity to actively interact with the action of the performance and fully meeting the innovative goals of the environmental theater approach.

Since the mid-1980s, traditional Chinese opera has been facing the problem of aging and shrinking audiences. Currently, opera performances are mostly attended by the elderly, while young people show no interest in them^{[7, p. 2]}.

When choosing a work for adaptation, the widely known classical historical fantasy was taken as a basis, into which elements of the Yue opera were integrated. The original film once aroused considerable interest in the historical fantasy genre in China, becoming a cult classic and maintaining popularity among modern audiences, especially young people. Using this plot as the basis for theatrical adaptation in the Yue format of the opera allows you to preserve the dramatic tension of the source material and create an aesthetic match with the unique artistic means of the opera. Thus, the performance has the potential to attract and interest audiences who were previously unfamiliar with Yue opera.

The text of the adaptation of the play has undergone a deep reconstruction and artistic synthesis. When creating the script, the complex plot structure and character system of the original film were preserved, but they were adapted to match the expressive means of Yue Opera. The transformation of the original material was carried out in three main directions:

Firstly, the optimization of the dramatic structure was carried out with an emphasis on lyrical motifs, taking into account the traditional capabilities of Yue Opera in conveying subtle romantic experiences. The original film directed by Tsui Hark combines heroism and romance, while the latter was enhanced and given a deeper reveal in the theatrical version.

Secondly, the adaptation of the characters was performed in accordance with the traditions of Yue Opera and Chinese theatrical art. Special attention was paid to strengthening the emotional bonds between the main characters, which corresponds to the modern aesthetic preferences of the young audience.

Thirdly, the production takes into account the specifics of the performance of the role of "junior Sheng" in the Yue opera, emphasizing the complexity and versatility of the characters ^{[5, p. 138]}. For example, the play focuses on traditional narrative motifs, such as the image of the faithful minister Zhou Huayan, the rescue of an orphan, as well as the complex character of Jia Ting. These characters have received a more detailed disclosure, containing allusions to modern society. The presentation examines issues such as the relationship between ideals and reality, duty and feelings, pragmatism and romance, justice and personal gain. This provoked a strong self—identification and emotional response from the audience: "What is more important to us - reality or romance? Justice or practicality?"^{[8, p. 84]}.

This approach to adaptation preserves the original artistic intent, while taking into account the expectations of the modern audience. A melodic and sophisticated vocal style plays an essential role in the production, emphasizing the characteristic atmosphere of the Jiangnan region.

Unlike cinema, which is limited in its expressive means, the theatrical version of Yue Opera actively uses the closeness of the stage space to enhance dramatic tension and create the effect of deep immersion.

Additionally, the production focuses on the versatility of the characters. For example, the image of the antagonist Jia Ting acquires additional emotional shades and internal struggle in Yue opera, which makes the character more complex and corresponds to the traditional manner of playing the role of "junior Sheng", characterized by subtlety and emotional nuance.

The strategy of rejuvenation of acting performance. In order to match the aesthetic preferences and cultural interests of the younger generation of viewers, the New Dragon Tavern Opera in Yue has undergone a large-scale modernization of the cast, characters and stage representation aimed at attracting a youth audience.

Yue opera, traditionally characterized by the dominance of female performers, is distinguished by a high level of sophistication and elegance, standing out among other theatrical genres^{[9, p. 2]}. Its natural aesthetics is successfully integrated into modern youth and fashion trends.

Yue Opera's performance style focuses on the subtle transmission of the emotional states of the characters through vocals, the detail of the stage play, the plasticity of movements and the expressiveness of the gaze. This allows the performers to deeply reveal the emotional spectrum of the characters, greatly enhancing the empathy of the audience.

In accordance with these principles, a cast was formed for the production, mainly from young professional artists such as Chen Lijun and Li Yunxiao, as well as more than 20 other actors with specialized theater education. This approach gave the performance a fresh and energetic atmosphere.

Such a cast, combining vivid youth images with the expressiveness characteristic of Yue Opera in revealing the inner world of the characters, helps to destroy stereotypes about traditional Chinese opera as an art far removed from the younger generation. As a result, the performance is perceived more naturally and intimately by young viewers, which significantly increases their level of engagement and emotional response.

The production integrated successful approaches typical of musicals into the visual design of the performance, which significantly enhanced the expressiveness and artistic impact of the stage space. In particular, technical means were used, such as projections on curtains, lifting and lowering mechanisms of the stage and various lighting effects, which significantly increased the aesthetic effectiveness of the performance.

The final part of the production was developed using techniques typical of musicals, including the actors performing additional vocal numbers and actively interacting with the audience. This approach allows the youth audience to create their own short videos and photographs during the presentation, which contributes to the dissemination of content in the Internet space and the formation of effective interaction between online and offline environments.

Since the premiere in March 2023 at the Butterfly Theater in Hangzhou, Yue's production of the opera The New Dragon Tavern has quickly gained popularity both online and offline, leading to a significant shortage of tickets. This phenomenon has become a significant phenomenon in the field of traditional theatrical art and a successful example of its modern modernization. According to Mao Weitao, the success of the performance testifies to the continued interest of the audience in opera art and indicates the need to select the appropriate content and format of interaction with a modern audience. This process is characterized by high complexity, requires an individual approach, in-depth analysis and adaptation from the modern theater market ^{[10, p. 2]}.

The production, realized through the reconstruction of the stage space in the format of an environmental theater and the use of a modernized, youth-oriented performing style, marked a new stage in the development of Yue opera on the modern theater stage. The effect of overcoming the limitations of the traditional audience has helped to attract both regular fans of Yue opera and a new audience that was previously unfamiliar with this genre and traditional opera in general. The active distribution of the play in digital media spaces has led to a significant public response and a noticeable cultural impact.

The production represents a significant innovative initiative that arose as a result of the interaction of the centuries-old tradition of Yue Opera with the modern cultural environment. In the context of the modern development of cinema, television, the Internet and other mass media forms, the ancient art of traditional opera is in need of innovative approaches and new presentation formats. The play "The New Dragon Tavern" is focused on the aesthetic preferences of a modern audience, successfully combining traditional theatrical techniques with elements of modern culture. As a result, this production has acquired the status of a cultural phenomenon on the theater stage in 2023, ensuring close interaction between the actors and the audience. In addition, she confirmed the effectiveness of the modern model, which includes a harmonious combination of traditional aesthetics, immersive theatrical practices and youth cultural trends.

Despite its success, the production revealed certain shortcomings and caused a number of discussions in the process of adapting the original cinematic material. Among the identified problems, it is possible to note the insufficiently accurate transmission of the phonetic features of traditional Yue opera by some performers, an excessively modern style of speech presentation, a weak reflection of specific vocal schools, as well as insufficient rhythmic plasticity characteristic of the traditional theatrical form. Nevertheless, the inclusion of innovative elements has significantly reduced the distance between the youth audience and the traditional art of Yue Opera. The increase in the number of young viewers who are interested in the unique expressive means of the genre indicates a significant expansion of the audience. Thus, the production successfully demonstrated the transition from the traditional "living inheritance" to innovative forms of popularization and dissemination of Yue opera.

Yue opera is one of the youngest genres of traditional Chinese opera, which emerged simultaneously with the development of modern Chinese society. Unlike more ancient theatrical forms, Yue Opera is not characterized by a heavy cultural heritage and has to constantly adapt to new historical challenges. Since its inception, this genre has maintained a close relationship with modern social conditions, continuously transforming in accordance with the changing aesthetic preferences of the audience.

Analyzing the history of the development of the Yue Opera since its appearance in 1906, one can note the continuous process of its transformation at each historical stage. The evolution of the genre covers the transition from rural scenes to urban theaters, from men's theater groups to women's troupes and further to modern forms of performance, where the peculiarity of female Yue opera remains, however, joint productions with actors of both sexes are considered promising. There is also a shift from the traditional repertoire to modern works, from records and cinema to television, and then to the Internet and short video platforms. Yue Opera shows flexibility in responding to the challenges of the time, demonstrating openness to change and adaptation to the current aesthetic preferences of the audience. The success of the genre at various stages of its development is due to the desire not only to preserve the tradition, but to integrate it into modern cultural conditions.

Traditional Chinese opera is a unique way of expressing and communicating the Chinese cultural heritage, which has historically been shaped through the processes of accumulation, destruction and reconstruction. Aesthetic analysis shows that tradition is not a static phenomenon, but a dynamic process characterized by continuous internal transformations, the rejection of outdated forms and the creation of new expressions.

Based on the six axioms of R. Schechner's theater of the environment and data from his own case study "The New Dragon Tavern", the author formulates a five-factor model of the Yue Opera theater of the environment. The model essentially describes a set of conditions that ensure the modernization of the traditional genre and increase audience engagement.

Table 1. Author's five-factor model

In this context, the innovative practice of staging the Yue opera "The New Dragon Tavern" represents a new model of environmental theater, promising for the further development of the traditional theater scene. This production reinterprets the stylized performance style of traditional Chinese opera and its characteristic vocal style with elements of dialectal sound in the context of modern cultural space, thus providing a new artistic perception. Thanks to the innovative approach, the audience ceases to be exclusively passive observers and gets the opportunity to actively participate in the theatrical process, forming a unique spectator experience together with the performers. The main aim of the production is to establish a new form of interaction between the audience and traditional opera art, as well as to search for the depth and authenticity of theatrical experience.

In the modern conditions of the entertainment market, traditional Chinese opera is facing a number of serious challenges. Traditional theater spaces, forms of artistic expression, and distribution methods are often unable to fully satisfy the needs of a young audience for new experiences and diverse aesthetic experiences. In this regard, the art of Yue Opera needs a significant transformation and the introduction of innovative approaches aimed at overcoming the crisis of its development. The term "destruction" implies the need to review and overcome the established limitations regarding the stage space, narrative methods, forms of performance and the target audience. Of key importance is the active search and development of new forms of artistic expression that will meet the needs and perception characteristics of modern viewers.

In addition to the concept of "destruction", an important aspect of the innovative development of traditional opera is the formation of a new aesthetic system that can expand the prospects of the genre in the modern cultural context. The play "The New Dragon Tavern", based on a classic cinematic work, realized a significant reconstruction of aesthetic approaches, organically integrating the characteristic artistic style of Yue Opera with actual theatrical forms. While preserving the main artistic values of the Yue Opera, the production has successfully adapted the form of performance to modern audience preferences, while preserving the cultural authenticity of traditional art. Thus, the performance demonstrates the achievement of a harmonious balance between traditional and modern artistic practices.

The aesthetic concept realized in the play "The New Dragon Tavern" represents the dialectical unity of tradition ("preservation") and innovation ("transformation"). The principle of preservation is expressed in the commitment to the key artistic values of the Yue Opera, such as the subtle expression of the emotional states of the characters, deep integration with regional culture and the preservation of traditional rhythmic aesthetics. The innovative approach is characterized by a significant renewal of expressive means, including the reconstruction of the stage space in the format of an environmental theater, the use of immersive theatrical forms, the introduction of modern narrative techniques and the use of digital technologies for content distribution. Achieving a balance between preserving traditional elements and introducing new approaches not only ensured the commercial success of the performance, but also laid the theoretical and practical foundation for the further development and modernization of traditional Chinese opera.

Conclusion

An analysis of the successful experience of staging "The New Dragon Tavern" allows us to formulate important conclusions and identify valuable guidelines for the modernization of traditional Chinese opera. The play effectively attracted a young audience thanks to innovations in the field of creating an environmental theater, updating the dramatic structure, a strategy for rejuvenating the cast, and the use of modern digital distribution technologies. In the face of declining interest in traditional theatrical art, the production has managed to significantly expand its audience and achieve significant success.

This example highlights the need to preserve the fundamental aesthetic values of traditional Chinese opera while actively developing new forms of artistic expression and distribution channels that will meet the modern aesthetic needs of the audience. The study showed that the sustainable future of traditional theatrical art depends on maintaining a dynamic balance between the preservation of traditional elements and the introduction of innovative approaches. In particular, it is important to preserve the opera's key artistic values and use the capabilities of modern technologies and digital media to enhance its relevance and competitiveness.

Thus, the success of the play "New Dragon Tavern" not only opened up new opportunities for the development of Yue Opera, but also offered a practical model for the general revival of traditional Chinese opera art. In the future, it is necessary to continue the search for innovative solutions, and the traditional theater should demonstrate even greater openness to modern challenges, expanding the audience and at the same time increasing its artistic and commercial importance.