LITTLE THEATRE

Little Theatre: translation

(Xiao juchang)

‘Little Theatre’ in China, often characterized by experimentation and avant-garde work, refers to Huaju (spoken drama) staged in small theatres or non-theatre spaces with 50–400 seats. Following early twentieth-century Little Theatre movements in the West, it was first introduced into China in the 1920s and was called aimei de xiju, a transliteration of ‘amateur theatre’. The movement became widespread during the May Fourth Period, but soon subsided during the struggles between the CCP and KMT. ‘Little Theatre’ (xiao juchang, or hei xiazi/ ‘black box’) was resurrected in August 1982 when Gao Xingjian’s Absolute Signal, directed by Lin Zhaohua, was staged in a small rehearsal hall at the Beijing People’s Art Theatre.In late 1982, the Shanghai Youth Art Theatre presented Mother’s Song, directed by Hu Weimin, in its small rehearsal room. The popular success of both plays led to the rise of ‘Little Theatre’ performances.

By the mid 1980s, Huaju troupes in China’s major cities were staging productions in newly created ‘Little Theatre’ spaces.

‘Little Theatre’ has been flourishing since the 1990s, with nationwide festivals generating hundreds of productions. This is a direct reflection of socio-economic change during China’s transformation from a planned to market economy. Previously, Soviet-style 1,200–1,500 seat theatres were the standard. Responding to financial pressures brought on by diminishing state subsidies, ‘Little Theatre’ has lower production costs and serves the needs of an audience with greater individuality and a larger choice of entertainment venues. The intimacy of ‘Little Theatre’ is changing performance and staging techniques by engendering direct actor-audience communication and encouraging audience participation.

See also: Zhang Xian

Tian, Benxiang (ed.) (1996). Xin shiqi xiju lunshu [Discourse on Theatre of the New Era] Beijing: Cultural Art Press.

Yu, Shiaoling S. (ed.) (1996). Chinese Drama After the Cultural Revolution, 1979–1989: An Anthology. New York: Edwin Mellen Press.

Little Theatre: translation

   Small theatre groups formed in order to promote new playwrights and experimental techniques without commercial pressure sprang up around the United States in the 1910s and 1920s. The designation as a movement came after the 1915 openings of Washington Square Players and the Neighborhood Playhouse, followed in 1916 by the Provincetown Players, but the phenomenon can be traced back earlier. Percy MacKaye may be the first American theatre artist to promote the notion of such theatres in his book, The Playhouse and the Play (1909).However, earlier initiatives can be signaled, notably Jane Addams's Hull-House Players in Chicago, begun in 1900. An article by Constance D'Arcy Mackay in The American City (September 1918, 206-12) promoted the concept. Chicago became a hotbed of little theatres between 1900 and 1925, with many—like Maurice Browne's Chicago Little Theatre (1919)—operating only briefly. Detroit's Arts and Crafts Theatre run by Samuel J. Hume did significant work, as did many others.

   Some little theatres produced new plays, a trend exemplified by the Provincetown Players, who gave early opportunities to Eugene O'Neill and Susan Glaspell. Others stressed European plays and techniques, particularly those in the social problem play style perfected of Henrik Ibsen and George Bernard Shaw. Still others devoted their attention to the cultures of immigrant groups, while some, like New York's Lafayette Players and Cleveland's Karamu House, focused on elevating the quality of theatrical opportunities for African Americans. The little theatre movement laid the foundation for the community theatres* of the 1930s and after, which in turn prepared audiences for the great network of professional regional resident nonprofit theatres* that developed in the 1960s.