Stage directions as endotext: the psychological and socio-historical messages in the stage directions of Cao Yu and Lao She

Cao Yu and Lao She, major twentieth-century Chinese playwrights, both wrote lengthy stage directions. Their long opening directions are very often unrepresentable, unperformable or, from a performance point of view, unnecessary. In both cases, the opening directions may be seen as a significant component of a work which, though ostensibly designed for the stage, is also a work of literature. The directions are explications of a culture: both men might be assuming that their work would be read and performed by later generations and by foreigners, and therefore requiring explanation across temporal and cultural barriers. They may also have had a view to the cinematic in their work. Most importantly, the directions are endotext - not core text itself, but deeply embedded in it, and embodying the inner workings - in Cao Yu's case psychological states; in Lao She's case, socio-historical situations of poverty and corruption. This intrinsic explanatory function is crucial for director, actors and readers in interpretation of the characters, and reflects a Stanislavskian approach.To regard stage directions as either paratext or core text is inadequate. I therefore use this case study to posit the notion of endotext - text which is deep and internal to the core text.

Automated summary

This article discusses the stage directions of major twentieth-century Chinese playwrights Cao Yu and Lao She, pointing out that although these directions are often unrepresentable or unnecessary from a performance point of view, they serve as explanations of culture and embody the inner workings of the authors' thoughts.