A Comparative Study of Aesthetics Between Ancient Greek Drama and Traditional Eastern Theatre

Abstract

Ancient Greek drama and traditional Chinese opera mark respectively their supreme achievements of Western and Eastern civilizations in theatrical field. The paper conducts comparative research on their aesthetic discrepancies from three dimensions: philosophical origins, dramatic narration and theatrical aesthetics. In respect of philosophical origin, ancient Greek drama is rooted in the tradition of rationalism and conception of destiny, highlighting the conflict between individual will and inevitable fate; traditional Eastern opera, shaped by ethical edification of Confucianism and Taoist notion of unity between human and nature, prioritizes maintenance of ethical order and moderation of emotion. In terms of dramatic narration, the ancient Greek drama centers on rigorous structural principle of “Three Unities” and drastic external conflicts while evokes intense pity and fear through devices such as “Peripeteia” and “Anagnorisis”; traditional Eastern opera adopts the “point-line” narrative mode with stress on Xieyi (ideographic) expression of inner emotion and karmic moral framework. From the angle of theatrical aesthetics, ancient Greek drama pursues solemn and stunning effects from plaza performance where masked actor and chorus undertake multiple roles. Traditional Eastern opera takes virtuality, stylization and xieyi as its aesthetic core and realizes performance by “Four Skills and Five Methods”. Research affirms the creative fusion of theatrical aesthetics between East and West by Chinese and Japanese artists and the unique value of intercultural adaptations as a medium for mutual learning between civilizations.