This book argues that Gao Xingjian’s Idea of Theatre can only be explained by his broad knowledge and use of various Chinese and Western theatrical, literary, artistic and philosophical traditions.

The author aims to show how Gao’s theories of the theatre of anti-illusion, theatre of conscious convention, of the poor theatre and total theatre, of the neutral actor and the actor - jester - storyteller are derived from the Far Eastern tradition, and to what extent they have been inspired by 20th century Euro-American reformers of theatre such as Antonin Artaud, Bertolt Brecht, Vsevolod Meyerhold, Jerzy Grotowski and Tadeusz Kantor. Although Gao’ s plays and theatre form the major subject, this volume also pays ample attention to his painting and passion for music as sources of his dramaturgical strategies.