Art is one of the oldest means of human communication, inherent in all cultures of the world in any period. The language of art is clear to everybody, so the theater as an entertainment art form is a universal code of intercultural interaction [1]. Spectacular culture has an important social significance, since it contributes to the formation both of each individual person and of the entire group. In a spectacle everyone – performers and audiences – is a creator and participant of specific life with their special forms of collective behavior caused by customs, rituals, ceremonies and rituals. Theatre forms an information environment that «includes information and communication space, and thus represents a self-organizing interaction between a large number of topics, on one hand, and specific communication participants, on the other hand» [2]. As such, it is an important factor in the regulation of relations between people of different nations. In fact, thanks to the emergence of electronic environment representatives of a particular cultural community have got a real opportunity to find each other, wherever they are, which helps them to communicate on an everyday level [3]. Nevertheless, traditional Chinese theater has always been addressed to the sophisticated initiate capable of reading a complex symbolic code of plastics, gestures, facial expressions. As you know, the Chinese model of the world treats it as a whole, where every object, person or artistic phenomena is a part of the «whole body of the Universe». Such outlook makes boundaries of life and art subtle. The artist only transmits what nature has said subjugating his creativity to the general laws of the Universe, that’s why the art (and, of course, theater) has the ability to influence lives. Character 
(theater, spectacle, play) consists of two parts: the element «emptiness» and the element «battle-axe». Emptiness is a fundamental category of Chinese philosophy. It is a huge concentration of internal energy, the deepest beginning of everything on the Earth. So it turns out that the theater is an actor’s manipulation with ax (or any other object) in a vacuum. So appears the law of fact and fiction mixture, the mixture of real space and of cosmic proportions performance.
Библиографическая ссылка
Golovtsova M.A., Galperin M.S. CHINESE THEATER IN ITS SACRAL AND PHILOSOPHICAL CONTEXT // Международный студенческий научный вестник. – 2015. – № 4-4. ;URL: https://eduherald.ru/ru/article/view?id=13634 (дата обращения: 21.11.2024).