The creation of Krystian Lupa’s Mo Fei (adapted from Shi Tiesheng’s works): A co-operation of Polish theatre in the Chinese theatre industry

Abstract

In this article, the author analyzes the dramatic work Mo Fei, adapted from several pieces by the contemporary Chinese writer Shi Tiesheng by Polish director Krystian Lupa in 2017. The analysis pays particular to exploring the creation from the original text to the stage work. Mo Fei has been regarded as a successful adaptation, which brought about metaphysical, spiritual content rarely seen in the contemporary Chinese theatre. Lupa adapted Shi’s works based on existentialist philosophy, using unique theatrical methods and techniques of expression not presented in the original work. As an experienced international director, Lupa’s adaptation reflected his characteristic and preferred aesthetic. His directing methods and artistic taste were reflected in his adaption of Mo Fei, including the practice of laboratory rehearsal and pursuit of inner life (similar to Grotowski). These aspects of Lupa’s work have essential inspirations for the Chinese theatre industry.

Keywords:

• Krystian Lupa
• Shi Tiesheng
• Polish theatre
• Chinese theatre
• ‘laboratory rehearsal’
• ‘to be the master of time.

PUBLIC INTEREST STATEMENT

The author holds that Polish theatre director Krystian Lupa’s works and practice in China in recent years are beneficial cooperations. It is necessary to investigate his Mo Fei, an adaptation of Chinese writer Shi Tiesheng’s texts, which is significant to the development of contemporary Chinese theatre. Lupa’s profound philosophical thoughts, exploration of the inner life and spiritual journey, and experimental approach to the Polish theatrical tradition can be seen in his works of textual interpretation and stage performance. It inspires contemporary Chinese theatre in the form of experiment and content innovation. This collaborative work, which can be regarded as ‘cross-cultural’ to some extent, fully demonstrates the universal humanistic significance of artistic exchange beyond cultural essentialism and orientalism. This work can only be produced based on loose creative soil, just as Chinese theatre has been open to absorbing the world’s theatre treasures.

Disclosure statement

No potential conflict of interest was reported by the authors.

Additional information

Notes on contributors

Yongmei Tan

Yongmei Tan is a Ph.D. at Zhejiang University, College of Media and International Culture. She has been working on issues related to theatre arts.