Meng Jinghui, Pioneer of Experimental Theatre in China/L'AVANT-GARDE DU DRAME D'ESSAI DE LA CHINE - MENG ZHAOHUI
Bibliographic record
Abstract
Abstract: Meng Jinghui, whose name has gained increasing popularity in China in the past fifteen years, is undoubtedly the most influential stage director of in Chinese theatrical circles. Referred to Experimental Theatre or Small Theatre in China, has been experimenting new theatrical presentations that have not previously seen in China. Though controversial from the very beginning, Meng Jinghui has won more and more audience. With the box-office success of his 2005 production Amber, which is reviewed by some as a repetition of some previous productions of his without breakthrough, people begin to doubt about Meng Jinghui' s creativity and his leading role as a pioneer artist who seems to be naturally away from pop culture and commercialization. Investigating the birth and growth of Experimental Theatre in China, this paper gives a glimpse of Meng Jinghui's major productions and what he has tried to do in this field called .... The paper gives credit to Meng Jinghui's long time efforts of making his dream true - to make theatre going a mainstream culture in China, which would surely prove him to be the great pioneer of Chinese Experimental theatre. Key words: Meng Jinghui, Experimental Theatre, pioneer Resume: Meng Zhaohui etait de plus en plus repute dans les quinze dernieres annees. Il est sans aucun doute le metteur en scene le plus influant du drame d'avant-garde chinois d'aujourd'hui. Le drame d'avant-garde en Chine, en d'autres termes le drame d'essai ou le petit theâtre a l'etranger essaie tout le temps de nouvelles techniques d'expression sceniques. Bien que conteste, Meng conquiert de plus en plus de spectateurs. Son oeuvre de 2005 « Ambre » a fait recette, mais aux yeux des autres, cette piece, repetition de ses ouvrages precedents, manque de nouveaute . Donc la creativite et le role d'un artiste pionnier detache de la culture courante et la commercialisation sont contestes. Cet essai explore l'apparition et le developpement du drame d'essai chinois ainsi que les ouvrages principaux sceniques de Meng. En affirmant les contributions que Meng Zhaohui a apporte au drame d'essai, cet article indique qu'il sera l'avant-garde exceptionnelle du drame d'essai de la Chine. Mots-Cles: Meng Zhaohui, drame d'essai, (ProQuest: denotes non-USASCII text omitted.) The name of the Beijing-based stage director Meng Jinghui (...), for the past fifteen years, has been associated with avant-garde theatre in mainland China (generally called Pioneer Theatre in Chinese ..., also referred to as Experimental Theatre or Small Theatre) and the 40-year-old is considered as one of the most influential figures in China's theatrical circles. Last March, his multimedia musical drama Amber («...» ), co-produced by China National Drama Theater and Hong Kong Arts Festival in association with the Singapore Arts Festival, had its premiere at the Grand Theatre in the Hong Kong Cultural Centre and turned out to be an unexpected hit. In spite of his original intension to explore something new in every new production, Meng Jinghui seemed to disappoint some of his fans. They failed to find anything really new in Amber except for the joining of the two acclaimed movie stars, claiming that it was more a continuation rather than a breakthrough, that it was no more than another Rhinoceros in Love («...» ), which was Meng's first commercial success six years before. Without breakthrough and with its increasing popularity, what is Meng Jinghui doing in this field called Experimental Theatre? Is experimental theatre being assimilated into pop culture? Has it been commercialized? And what makes Meng Jinghui a pioneer without excelling himself? The definition of Experimental Theatre given in Wikipedia is: ... a general term for various movements in Western theatre that began in the 20th century as a reaction against the then-dominant conventions governing the writing and production of drama, and against naturalism in particular. …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.002 | 0.003 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".