내가 소비되어지는 방식 ― 중국 실험극 연출가 멍징후이

Abstract

The experimental drama is heavily tinged with the attitude of denial, and it does not develop itself into a fixed style as other genres usually do. The most evident characteristic of experimental drama is that, while denying tradition, it endeavors to develop newness in drama. However, such characteristics of the experimental drama as free of regularity and of stylization have already become conventions of theatrical drama, without challenging existing forms. As a result, if we dichotomously divide drama into whether it opposes mainstream drama or not, current experimental drama belongs to mainstream culture. However, if we free ourselves from this dichotomous division and instead focus on its internal dynamics of formation, transformation, termination and re-creation, we discover that experimental drama can exist in various modes. Having this in mind, I examine Meng Jinghui, one of the most representative experimental drama directors, and the Chinese cultural phenomenon centering on his drama Rhinoceros in Love. Though he is a representative experimental drama director, over the late 1990s his characteristic of resistance has weakened and Rhinoceros in Love has achieved unprecedented commercial success in China. As a consequence, many people criticize him for not being an experimental drama director any longer, since they firmly believe that experimental drama should resist existing mainstream culture. However, the question still remains: resisting what can be resistant enough? There is no longer a single-type and identical resistance. Instead, resistance is formed, transformed and terminated in various ways. In China, revolution and political struggle had long been sanctified. However, with the development of market capitalism, people have begun to express their feelings and desires that were long suppressed by the authority of revolution and politics. Under these circumstances, Meng Jinghui does not position himself in the periphery any longer and instead has actively moved himself to the center. In terms of resistance and subversiveness, his characteristic as an experimental drama director has diminished. However, if we understand him through the context of the post-political politics that is represented by the expression of the suppressed individual feelings and desires and the opposition of the excessively politicized society and sanctified politics of the past, he can still be regarded as resistant enough.