Theater of Transposition: Charles Dullin and the East Asian Theater

Abstract

In first half of twentieth century, Charles Dullin (1885-1949) was not only one of prominent figures of modern French theater, but also played a pivotal role in French theater's interculturation of East Asian theater. Dullin incorporated ideas of East Asian into his productions and, more importantly, into his theory of theater of transposition. In so doing, he also directly inspired next generation of French artists (Antonin Artaud and Jean-Louis Barrault) to take an interest in East Asian theater. Dullins theory has not been appreciated and studied in English-speaking world as thoroughly as Jacques Copeaus, Bertolt Brechts, and Vsevolod Meyerholds. Nor has his interest in East Asian theater. But role of East Asian in formation of Dullins theory, not in least less important than it was in formation of Copeaus, Brechts, and Meyerholds, merits a comprehensive and in-depth approach. Dullin's Experience of Theater in His Early Career Charles Dullin's contact with East Asian theater, specifically, theater, began as early as 1908 when he performed as an actor in VAvare chinois, a comedy in four acts and six scenes, translated and adapted by Judith Gautier from a thirteenth-century Yuan variety play (zaju), Khan thsian-nou (Kan qian nu, The Slave to Treasures He Guards), by Zheng Tingyu. The adaptation was first produced by Andre Antoine at Theatre National de L'Odeon on January 30, 1908. In Odeon production, Charles Dullin played a Sorcier (Sorcerer) appears and speaks only once. (1) In original play, however, there is no such character. In Yuan drama, role type Bu-er refers to an old woman. In this play, it refers to wife of miser Gu Ren (or Kou-jin) when she first appears in play. In this instance, Gautier apparently misread character bu in role type, as same character also has meaning fortune-telling that led to Gautier's translation of it as Sorcier. But in text of play that follows, Gautier translated role type correctly. Had Gautier translated role type correctly first time it appears in play, character's speech would have been assigned to actress played miser's wife. Accidentally, Gautier's innocent mistake made possible Dullin's first performance in a play and his first taste of and East Asian as well. The production of L'Avare chinois was hailed as a great success not only for Gautier but also for Odeon, its director Andre Antoine, and its players. (2) A revival of play was scheduled shortly afterwards on February 6 to meet demands of audience. (3) Prior to productions of play, Gautier spoke extensively to audience about play and in general. French critic Maximin Roll was greatly impressed by Gautier's thorough familiarity with her subject. (4) Gautier reminded her French audiences of long history of that had produced countless dramatic works as well as Chinas Molieres and Shakespeares whose genius had not been fully acknowledged by Europeans. (5) Gautier's lectures must have benefited Dullin in his first encounter with theater. As director of production, Andre Antoine took pleasure in presenting with very particular care this curious comedy. (6) Antoine's production was characterized, as usual, by his meticulous attention to historical authenticity and local color and by his care for picturesqueness and for truth. (7) It was claimed as the precise reconstitution of a theatrical performance in Celestial-Empire. (8) Maximin Roll affirmed as a matter of fact that artists at Odeon had dedicated themselves to making production truly Chinese from its mise en scene to its costuming. (9) According to Paul Leautaud (Maurice Boissard), L'Avare chinois was well played by actors, who knew value of a gesture, a pose, a tone of voice, and knew how to be, of appearance and tone, real Chinese. …