Cultural change and globalization in contemporay China : could ideas for change be promulgated through street theatre

Abstract

In China today, there is a 'faith crisis' that has accelerated since the economic reformation, it is a consequence of the collision between traditional Chinese culture and Western culture in the context of globalization. The growth of globalization is overwhelming with Western culture occupying the dominant position in the globalization process. The loss of indigenous culture and the blurring of national identity have been the common anxieties of the non-western world. One of the most destructive effects of western culture is the 'ecstasy of nothing'. By this phrase, I mean that commercialization, which tends to neglect subject's substance and characteristics for its pure circulation purpose, equals everything even people with their exchange value. It is a process to transform 'something' into 'nothing'. With the establishment of the global market, it has expanded worldwide, which not only aggravates the Chinese faith crisis but is also a potential challenge to all humanity. What is interesting is that traditional Chinese culture and Western culture appear as two opposite but symmetrical systems. Liu Changlin, a contemporary Chinese philosopher, claims that Western culture is space-based while Chinese culture is time-based. Comparatively, space is static, tangible and separate. It is closer to western culture's attributes, which pay more attentions on the particle, structure and difference of the world. By contract, time is running, intangible and consistent. It fits Chinese culture's dispositions, which emphasize on the unity, function and connection. With regard to Chinese culture, what is missing is the individual value. Furthermore, the public sphere and civil society were not appreciated in China's history. However, China is no longer a c With the development of market economy, it is expected that the demand for individual rights will be more and more in China and Chinese civil society will 'grow up'. As a one-party state, Chinese civil society needs to be strong enough to be a counterweight. Otherwise, the country will be in danger. Unlike other classic Marxists, Antonio Gramsci has seen the crucial role of civil 6 society in keeping the state stable in capitalist societies. So, he calls for communist countries to see civil society as a contributor to the state rather than a trouble. Unfortunately, civil society is still a sensitive word in China because of its relationship to the demise of communist regime. However, the biggest obstacle to promote civil society in China is not political reformation but to transfer Chinese peasant mentality to civil awareness since the mental culture is the most stable and deepest level in a culture. Chinese peasant mentality is basically counter to the principles of civil society. It is so strong that has become a notional mentality in China due to the thousands years of tradition. According to constructivist model of mind, a lot of people's awareness is lost during the course of socialization in a certain culture. The lost awareness will not appear spontaneously but embed in inter-personal matrix. Theatre can be a good matrix for people to discover themselves and remind them of the possibilities and potentials they possess. In history, theatre has proved an effective method for social and political transformation. The Alternative Theatre Movement in Poland is a good example of this in action. In the case of China, street theatre could be specifically helpful. First, it could affirm the value of public space and individual voice. On one hand, it will challenge Chinese peasant mentality. On the other hand, it could break the 'ecstasy of nothing' caused by commercialization, changing 'nothing', like 'non-time', 'non-place', 'non-people' to be 'something'. Second, street theatre can be a better way for Chinese to express and communicate.