International Baccalaureate Theater Production Proposal

Play Title: The Other Shore

Author: Gao Xingjian

Page Count: 11
Word Count: 3289

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 Section 1

I. Ideas and Intentions

Gao Xingjian's "The Other Shore," which was completed in 1986 at the Beijing People's Art
Theater, is considered a rare example of expressionist drama in Chinese theater. “The Other
Shore” is originally a Buddhist metaphor for transcending the cycle of suffering. Gao
Xingjian redefines this 'other shore' as a symbol of striving toward an ideal state of being.

“The Other Shore” is a short but complex play. It is featured as a play that is made up of
disjointed narratives or incidents that do not necessarily connect with one another.
Nonetheless, each unit can be seen as self-contained and meaningful but itself.

- Suppositional theater:
Gao Xingjian has explicitly stated that “ The Other Shore” is a “pure drama” and that
literature should be independent from political considerations:

The Other Shore is different from conventional drama. One of the differences
is that the play does not attempt to put together a coherent plot. I only intend it
to be a revelation, to portray some of life’s experiences and feelings in a pure
dramatic form, i.e., in the same way that music is pure.”

"The Other Shore" can be viewed as a type of suppositional theater. Critic Sy Ren
Quah invented the term "suppositional theater," which refers to the playwright's
hypothetical setting.

Although it is obvious that the drama contains cultural and political themes related to
the communist government in modern China, the setting itself does not suggest a
specific historical period or region. The director noted in the scene heading, "Time:
time cannot be defined or staged precisely. / Location: from the real world to the
nonexistent other shore." All of the characters in this play are unnamed.

All characters within this play only have class names but not proper names. For
example, man is named as “Man” not “William”. Using common categories to
represent each character showcases Gao Xingjian’s intention to reflect certain groups
of people in communist China through theater play. The idea of suppositional theater
resonates with my theater-making intentions: to deliver the theater for its own
existence rather than reflecting on certain political or real-world incidents.

- Themes of collectivism and individualism:

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 In "The Other Shore," Gao Xingjian showcases the interplay between collectivism
and individualism. The play starts with the actors bounded by ropes, which is a motif
for collective unity. When the crowd is playing the card game with the card player,
Gao Xingjian cleverly uses the Lead Actor to showcase the central authority that
controls the population’s mindset.

As the play continues, Gao delves deeper into the tension between collectivism and
individualism. This is vividly portrayed in the tragedy of Woman, whose death is
because of a collective will that overshadows the individual voices.

In contrast, Man and the Mad Woman represent individualism’s struggle and
resilience. Despite the Crowd's insistence on uniformity, Man's continuous pursuit of
self-fulfillment demonstrates the determination of individualism. The Crowd's
depiction of the Mad Woman as a silenced victim emphasizes the consequences of
nonconformity. Gao portrays the essence of the individual's struggle in a
community-centered environment, reflecting the sociopolitical background of
Communist China, where personal freedoms are frequently sacrificed for communal
benefits.

- Minimalist setting:
Following Jerzy Grotowski’s theory of “poor theater”, Xingjian has removed all but
the most essential props. With the exception of the necessary lighting and some ropes,
the stage is barren. For the stage direction, the director wrote: “The play can be
performed in a theatre, a living room, a rehearsal room, an empty warehouse, a
gymnasium, the hall of a temple, a circus tent, or any empty space as long as the
necessary lighting and sound equipment can be properly installed. Lighting can be
dispensed with if the play is performed during the day. The actors may be among the
audience or the audience among the actors. The tie situations are the same and will
not make any difference to the play.” The minimalist setting allows Xinjiang to
emphasize the relationships between the actors themselves and between the actors and
the audience. This also meets my theater-making intentions, as the audience can focus
more on the plot and actors instead of the props on stage.

- Stage directions-improvisation:
Xingjian gives some stage directions, but the actors are expected to improvise during
the performance. This allows the actors to explore their roles completely without the
constraints of direction. This also links into his critique of what he refers to as
"spoken drama" in contemporary theater, in which actual words and their meaning
become the main force of drama. Examples of stage directions requiring performers to
improvise include “The actors each choose a partner to play the game, using a piece
of rope. They can switch partners or briefly make contact with other pairs of players.”
“The actors communicate with one another through pieces of imaginary ropes,” and
“The performance is accompanied by all kinds of sighs and screams but without
resorting to the use of language.”Xingjian is interested in the nonverbal methods in

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 which humans interact, control, love, and live with one another. Improvisation allows
performers to present a variety of alternatives for how individuals connect. This aligns
with my intention as not just the performers but also the audience will be immersed in
this game or play differently every time.

II. Theater Stage Making Intentions

As a director, I want to achieve the following goals throughout the staging of the play:

1. deliver the theater for its own existence rather than reflecting on certain countries or
real-world issues. (suppositional theater)
2. Reflect on the themes of collectivism and individualism and the pursuit of an
equilibrium between the self and the outside world. (can be achieved through lighting)
3. Emphasize the relationships between characters and their relationships with the
audience. (can be achieved through a minimalist setting)
4. Reveal layers of meanings that can not be conveyed through scripts solely and need
spontaneous stage improvisation.

I’ll explain how these intentions can be demonstrated through stage directions and designs.

- Theater style:
Unlike political theater, which often requires the audience’s strong understanding of
history or politics, “The Other Shore,” as one of the suppositional theater plays,
allows a broader audience that may not necessarily be familiar with political issues
related to communist China. The stage direction will remain in an unknown time and
space that does not connect to specific real-world incidents. The effect of
suppositional theater can allow the audience to use their interpretation and reflect on
the themes of collectivism and individualism in their personal lives.

- Lighting:
Although Gao Xinjiang stated that the play can be performed in virtually "any empty
space as long as the necessary lighting and sound equipment can be properly
installed.” I’ll utilize lighting to illustrate the themes of collectivism and
individualism.

When the units are about the Crowd, as it symbolizes collectivism, I’ll use a general
white or red wash, depending on the plot's tension. The white wash will be used when
the Crowd is playing the rope or first arrives on the other shore, while the red wash
will be featured when it’s related to danger or death, such as the Crowd crossing the
river dangerously and when the Woman was killed.

On the other hand, when the units feature individualists, such as the Man and the Mad
Woman, I’ll utilize spotlights on them respectively, distinguishing them from the

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 collective crowd. My intention is to emphasize two major themes: collectivism and
individualism, as it not only reflect the cultural and political dilemma of communist
China, where the collective overshadows the individual’s thoughts, but also mirrors
the conflicts between individual’s desire and collective will that can be resonated with
audiences universally.

- Props and set:

Furthermore, to fulfill the intention of making strong connections between characters
and with the audience, I’ll make sure the props and setting are to the minimum. Props
will only be provided if it’s essential to each scene, for example, rope for the rope
game and poker cards for the card game. The remaining space on stage will allow the
performers to move more freely and engage with other characters. The intention of
this minimalist setting also amplifies the actor’s performance, enabling performers to
deliver emotions to the audience more directly. With fewer distractions and more
blank spaces, the audience can use imagination to fill the gap and become an
engaging and creative contributor to the play.

- Action in Performance:
Lastly, stage improvisation intends to let the performers actually be immersed in the
characters themselves instead of just acting out the designated lines. Therefore, when
casting, it is important to keep in mind that suitable actors have to be someone that are
flexible and creative when dealing with spontaneous changes on stage.

I’ll further ensure that in each rehearsal and performance, actors are not standing at
specific spots on stage and interacting with certain characters, especially in scenes
such as the rope game. This spontaneous form shifts the performance from script
portrayal to authentic reflection of the character’s nature, enriching the actor who
deeply explores the character’s emotions and the audience, receiving unique theater
experiences, which vary every time.

Also, stage improvisation ensures emotions and human interactions not be

overshadowed by dialogues. For example, emotions like anger, despair, and
consternation must be delivered to the audience without specific spoken words and
certain dialogues. This allows me to reveal the subtext of this play and allow the play
to resonate with the audience on multiple levels.

Section 2

The purposed design

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The visual production and design ideas stated in this segment will focus on the following:

- Stage:
I decided to include “Theater in the Round” staging, which is a staging configuration
when the audience is seated around all sides of the stage, as the whole play
emphasizes the relationship between actors and the audience. The well-rounded stage
allows actors to freely interact with each other from various angles and keep walking
around, not afraid the audience will miss it. Likewise, it also allows the audience to
engage from any aspect with no barriers. As the set and props are to the minimum,
there’s no need to worry that the view of the audience will be obscure.

I’ll ensure the stage is a circle or oval. As the Crowd head to the other shore which
can be an island or new land, the circle stage enables the audience to easily imagine
the arrival on the other shore.

Figure 1: lay out of “theater in the round” staging Figure 2: circle stage

Since the play involves characters crossing the fast-flowing water, I’ll also make sure
the stage is big enough for the performers to extend their bodies when demonstrating
fear. The spacious stage will also allow the audience to easily imagine the long
distance to “the other shore” and the river flow.

- Props:
As mentioned previously, props are set to the minimum. However, the following are
props that are essential to the plot.

- Rope:
In the first scene, the performers are playing with ropes. It is stated that “ let’s play a
game, but we’ve got to be serious as if we’re children playing their game.” To portray
the childish act and ensure the play is suppositional, I’ll pick the climbing ropes that
are often used for kid’s games, such as tug of war or limbo.

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 Figure 3: climbing rope Figure 4: kids activities with ropes
- Oil lamp, alcohol bottles, and poker card:

For the scene of card playing, alcohol is essential, as the reason why the crowd starts playing
with the cardholder is because they’re greedy for the card player’s alcohol. I’m using a
glowing alcohol bottle since it stands out in the night more, and it also showcases how unique
this bottle is and why people even choose to lose their dignity for a sip of it.

Figure 5: glowing alcohol bottle Figure 6: oil lamp

I decide to use an oil lamp that has orange or red flame. In this scene, although the card game
seems fair, the card player will always win and whoever gambles with him loses their dignity.
It is stated that “the card player takes the lamp and shines on everyone from below the chin.
The papered faces all become gargoyles.” The red flame adds a sense of danger to the
consequences of being greedy. It also enhances the dangerous atmosphere to the general
public that seeks to live in peace and chooses to surrender to the authority with power under
the totalitarian government.

Poker cards are a must as the whole game is a poker game. When the card player spits on a
card and orders the losing players to stick it on their faces, it symbolizes the loss of dignity
and individualism to the collective society.

- Costumes:
The characters in this play are all with class names, not proper names, the purpose of it is to
provoke the audience to reflect on the representation of people, such as Man and the Mad
Woman as people who still seek for individualism in the collective society, and the Card
Player as a representative of the totalitarian government, not just the character itself.
Therefore, for costumes, I’ll choose a more common outfit for each character.

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 For Man, he’s wearing a plain t-shirt with sweatpants, so the audience can refer to Men in the
real world, not just this specific man with a drastic personality.

For the card player, although his gender is not stated in the original play, I decided to let a
male actor take this role. This is because the play is foreshadowing the communist China, in
which the totalitarian government is controlled by Mao Zedong, a male leader. The card
player is in the suit, as the formal costumes can symbolize the wealthier and more powerful
group of people and easily distinguish them from the general population.

For the Crowd, they follow the man everywhere he goes on the other shore, including the card
game. They symbolize people who are numb in the communist society and have no
individuality. Therefore, they’ll be wearing the same all-black costumes to portray the lack of
individuality and the darkness of conformity that overshadows personal expression in such a
society.

Figure 7: man’s costume Figure 8: the card player’s costume Figure 9: the crowd’s costumes

- Lighting
As mentioned in section A, the themes of collectivism and individualism can be
emphasized by the effects of lighting. Whenever the crowd is taking the lead, the
fresnel lights will be used, as they symbolize the collective population that has no
unique personality. For individualists like the Man and the Mad Woman, the
spotlights and tracing lights will capture where they are heading and the crowd can
just remain as background.

Figure 10: the stage lighting

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 White wash is utilized most of the time, but when there is tension, danger, or death,
red wash is used instead. The usage of lighting achieves the goal of emphasizing that
the destination of the other shore is not nirvana.

Section 3

I. The Moment:
I chose the moment of the opening scene, in which the actors are building relationships
through the rope game. Later, the rope turns into the river, and the performers embark on a
journey to the other shore.

The significance of this moment showcases how Tension, Emotion, and Meaning within
TEAM can be expressed through the use of performing and producing elements.

II. TEAM:
- Tension:
Tension is immediately introduced as actors appear on stage and start playing the rope game.
The rope game is a symbol of their interconnectedness and dependence on each other, which
is a physical display of tension. I want the tension to be highlighted with the push-pull
dynamic in performing elements. For example, the actors start running toward opposite sides
and suddenly get jerked back by their partner. The physical action not only showcases the
tension to the audience but also allows the actor to fully immerse into the character through
games. As the game escalates to the tug of war, the physical tension tightens when the rope
becomes tight, and the mental tension is enhanced when the pair is trying to figure out a
winner. The tension reaches its climax as one actor is pulling the rope and trying to strangle
the person on the other side to death. The visual representation of tension through the actor’s
red face and clearly visible hand veins because of exertion emphasizes the struggle to
maintain unity in the crowd and the pursuit of individual goals.

The production elements can also support the demonstration of Tension. The different
lengths and the thickness of ropes can serve as a metaphor for stronger or weaker
connections. For example, the short rope makes two performers stand closer to each
other, showcasing their deep connection. Angular lighting can cast extended shadows,
capturing the characters' effort. For example, during tug of war, the strain on their
muscles and the features of their faces can be drastically shaded, visually enhancing
the conflict.

- Emotion:

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 Emotion can be explicitly shown when performing elements apart from languages are
used. It is stated in this moment that “Various sighs and shouts accompany the
following actors' performances, but none of them are verbal”. For each emotion and
action listed—observation, attraction, coercion, conflict, intimacy, rejection,
entanglement, abandonment, following, evasion, expulsion, pursuit, encircling,
cohesion, rupture, dispersal—the actors can use a specific set of gestures and
movements to convey the essence of the interactions. For example, "attraction" could
be depicted with performers leaning in, their bodies taut. "Conflict" could be depicted
as a stylized fight in among actors by using bodies to indicate confrontation. The
usage of vocalization is also effective. A low, rumbling growl could emphasize
"coercion," and a high-pitched, frenzied tempo could accompany "pursuit."
I'll ensure the sequence of emotions alternates between good and negative to improve
visual variety for the audience.

Performing elements can enhance the expression of emotion as well. The lighting
design would be essential in showcasing these nonverbal conversations. For example,
Spotlights captures significant moments of emotional exchange that take place on
stage. Colored lighting could further enhance the mood. I’ll utilize a warm light wash
like amber or yellow for "attraction" or "intimacy," white for "observation" or
"evasion," as it's more objective, and a dangerous red will bathe the stage when
"conflict" or "expulsion“ occur.

Sound is essential for conveying the play's emotions. For moments in which someone
is being followed or attempting to flee, I'll utilize stressful and exciting music to make
the audience's heartbeat. I'll employ deep, touching music to enhance the sad
emotions of darker moments, such as abandonment and dispersal.

- Meaning:
Performing elements can strongly express the meaning of collectivism, especially
when the crowd is trying to cross the river. I’ll ensure that in the river crossing scene,
all performers are arranged in a straight line, vividly representing the concept of
collectivism. The crowd will be all holding the rope and standing behind it. As the
rope they hold becomes a powerful metaphor for their interconnectivity, binding their
individual fates together and signifying the societal bonds that both sustain and
constrain them.

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 Bibliography

1. The Other Shore - Document - Gale eBooks. (n.d.).

https://go.galegroup.com/ps/i.do?id=GALE%7CCX3420500020&v=2.1&u=poul4515

3&it=r&p=GVRL&asid=9794b86ccd70749de42c8442ddc02a9e

2. Füch. (2022, January 28). 胡耀恒：评高行健的剧作《彼岸》. 豆瓣.

https://www.douban.com/note/824839285/?_i=3346067alDed-0,3358428alDed-0

3. Banchero, L. (n.d.). The Other Shore script by Gao Xingjian.pdf. Scribd.

https://www.scribd.com/document/451792603/The-Other-Shore-script-by-Gao-Xingji

an-pdf

4. Other shore at Appalachian. (n.d.).

https://www.appstate.edu/~martypjw/dramaturgypages/othershore/themes.html

5. 淺談高行健戲劇寫作——《彼岸》裡的感知. (n.d.).

https://www.wenhsun.com.tw/focusite/detail/407

6. Law, C. (n.d.). 高行健之戲劇 : 理論與實踐. Digital Commons @ Lingnan

University. https://commons.ln.edu.hk/otd/17/

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