Characteristics of Indian, Chinese, and Japanese Theater

Indian plays are written with a certain flavor or rasa in mind. Western culture is used to theater being divided into tragedy and comedy, but within the Indian theater there are eight subdivisions: compassionate, comic, furious, heroic, erotic, terrifying, disgusting and awesome. If a play is performed well, the viewer will be able to identify the particular rasa that is being presented. Poetry and song are used to help convey the different rasas.

In The Recognition of Sakuntala by Kalidasa, there are many poems that focus on setting a mood rather than developing a plot or character. In the prologue, the Director describes the setting as follows: “Days draw to a

The leading man of the play usually sings any of the descriptive poetry. In Autumn in the Palace of Han by Ma Chih-Yuan, the emperor sings about the beauty of Chao-Chun: “Her face she tints and powders to perfection, And scented pins and plumes flash in her hair: A smile from her is worth a captured city…Your hair swept up like piles of raven’s wings. Your waist as slim as swaying willow boughs, Your face as lovely as bright-colored clouds…” (338). Having the character sing these lines is more effective than if an actor were to speak them. Her beauty is such that it inspires song and music instead of just plain dialogue.

Chinese actors must be trained in many different styles to be able to communicate roles effectively to the audience member. Pantomimic gestures and foot movements are used to represent certain stock characters such as warriors or comic figures. The manipulation of sleeves, feathers, hats, and fans are also used to convey a character’s emotional state. Each different actor is assigned his or her own unique vocal technique. A leading male role will have a soothing voice, but a younger man has a higher tone to his voice. The women also have certain pitches that are assigned to their voice determined by each character’s personality.

When the characters of a Chinese play are introduced, they give their names and state what they are going to do in the play. This is done so that emphasis can be on the lyrical qualities of the script instead of wasting dialogue on plot development. There is little surprise to be had in the play because the characters state their intentions. When Mao yen-shou is introduced he says: “I have been studying a new plan: if I can persuade the emperor to devote as little time as possible to his learned ministers, and to give himself instead to fleshly pleasures, my command over the imperial favor will truly be secure” (336). Attempting to understand what a character is planning does not distract the audience member. Suspense and development of a story line may suffer, but this allows more attention to be given to the aesthetic aspects of the performance.

Some topics in this essay:
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