Abstract

Wotou Huiguan is seen as a typical example of experimental theatre in China since the 20th century, and it combines new-style exploration with traditional inheritance; taking this play as the research object, this paper studies how the work creates a distancing effect under the guidance of Brecht’s “epic theatre” theory, while the study is carried out from two sides, namely directorial treatment and dramatic content, and it also shows how the play follows the three basic rules of classical realism; the play does not give more attention to one side and ignore the other, instead, it carefully brings together new stage methods and realistic ideas of creation, so the reason why it succeeds lies mainly in the balance between content and form; this combined way effectively avoids the problem of experimental theatre losing its literary base and pushing audiences away, and because some current experimental works only chase new forms and give up content expression, the creative practice of this play still has important reference value and provides useful lessons for today’s theatre creation.