From the Proscenium Stage to the Public Space: The Aesthetic Expansion of Xiqu Performance Forms

Muxian Li

doi:10.47297/wsprolaadWSP2634-786521.20260704

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From the Proscenium Stage to the Public Space: The Aesthetic Expansion of Xiqu Performance Forms

Volume 7, Issue 4

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From the Proscenium Stage to the Public Space: The Aesthetic Expansion of Xiqu Performance Forms
From the Proscenium Stage to the Public Space: The Aesthetic Expansion of Xiqu Performance Forms
School of Huangmei Opera Art, Anqing Normal University, Anqing, Anhui, 246002, China
Vol. 7, Issue 4, Pages: 102-105(2026)
Published：30 August 2026
DOI：10.47297/wsprolaadWSP2634-786521.20260704
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Li Muxian.From the Proscenium Stage to the Public Space: The Aesthetic Expansion of Xiqu Performance Forms[J].Research on Literary and Art Development,2026,07(04):102-105.
DOI：

Li Muxian.From the Proscenium Stage to the Public Space: The Aesthetic Expansion of Xiqu Performance Forms[J].Research on Literary and Art Development,2026,07(04):102-105. DOI： 10.47297/wsprolaadWSP2634-786521.20260704.

摘要

Abstract

The performance space of Chinese Xiqu has evolved from

goulan washe

(entertainment quarters)

teahouses

and tea gardens; today

specialized theaters and concert halls have become the primary spaces for Xiqu performance. While this shift in performance space provides a professional viewing environment

it also distances Xiqu from the public through physical distance and the psychological discipline of the spectator ritual. The ontological features of Xiqu include spatiotemporal freedom

performative suppositionality

and a contractual performer-spectator relationship. Combined with the historical fact that performances in ancient China took place both inside and outside theaters

it can be concluded that Xiqu does not stand in a relationship of dependence on professional theaters.

关键词

Keywords

references

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