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Abstract

This dissertation explores huaju 話劇 (spoken drama) acting theory and practice in mid-twentieth-century China. It reframes the art of acting as a repertoire of embodied knowledge that circulates in three ways: the translation of how-to manuals, hands-on training exercises, and interdisciplinary exchanges between scholars and artists. It argues that the professionalization of huaju actors presupposed systematic training in characterization, voice, and deportment, which was grounded on a theatrical science of mind and body. As a Western-derived form, huaju alienated Chinese audiences during its formative years; coarse and amateurish acting was identified as a chief culprit. For huaju theorists and practitioners alike, it was imperative to establish a science of acting. From the mid-1930s to the early 1960s, it was the Stanislavsky System that informed and transformed China’s theatrical epistemic community. This dissertation highlights the creative transformation of this body of Euro-American theatrical knowledge in the Chinese context. It suggests that the dynamic interplay of ideas, institutions, and identities shaped knowledge production and consumption. Through three in-depth case studies and exhaustive archival research, I trace how the ideal of huaju acting evolved into its current form: By experiencing and embodying their roles, actors bring Chinese-language playtexts to life, allowing Chinese-speaking audiences to watch the performances through their ears.