The concept of experimental drama was born in the 1980s, and some people think that Mr. Lin Zhaohua's Gao Xingjian's "Platform" was the first experimental drama in China, but in fact, Mr. Huang Zuoling began to introduce Brecht's plays and theories to the country as early as the 1960s. The Xinjiang Drama Troupe also staged a play called "Night of the Century" at the end of the 1980s, but it only had some influence in a small circle, and so far there is no experimental drama of real social significance in Xinjiang. Experimental drama once rose, but because of the lack of experience in the exploration process, creation and expression of too avant-garde or too much superstitious Western experience, experimental drama gradually out of the general audience's appreciation of the habit, coupled with the growing richness of the spiritual and cultural life, especially the prosperity of the film and television drama, resulting in a large number of audience left the theater. Nowadays, there are still some playwrights who stick to the stage and dedicate their experimental plays to some young and middle-aged audiences who still love plays, have thoughts and high cultural qualities in smaller-sized theaters. Therefore, in the more economically and culturally developed areas such as Beijing and Shanghai, experimental drama is figuratively called small theater drama because of its size.
Small theater experimental drama is the most avant-garde, the most humanist feelings of contemporary China's behavioral art, with a high degree of ideological, expressive and contagious, but also has a strong entertainment effect, is a very respected cultural phenomenon in the Mainland, in Beijing and Shanghai, and other economically developed areas is recognized as a symbol of culture and fashion, but also by the young and middle-aged people widely accepted by the high-level cultural consumption, and has formed a more stable audience, and the audience base is more stable, and the experimental drama is figuratively called small theater drama. It has formed a stable audience and has been incorporated into the mainstream culture. In Xinjiang, with the development of the economy and frequent cultural exchanges, small theater drama will be understood and loved by a wider range of people in Xinjiang, especially the ideal and passionate young people will show great interest in this positive and profound cultural connotation of the art form.
The experimental drama now has more of the characteristics of popular culture, although still different from the mainstream, but more traces of integration with the market, but also to care about the needs of the audience, no longer only the pursuit of personal sentiment and the so-called profound art, but more contact with life, reflecting the ordinary people's hearts, which makes the development of experimental drama has more space, Lin Zhaohua, Li Liuyi, Meng Jinghua and others, and the development of the experimental theater. Lin Zhaohua, Li Liuyi, Meng Jinghui and other old, middle-aged and young directors of experimental drama through unremitting efforts to develop a market for experimental drama, cultivating a group of fixed, high-quality audience, especially Meng Jinghui's works, through the operation of the business, has achieved good results. His plays such as <A Street of Bad Words>, <Sifan>, <Love Ants>, <I Love XXX>, and The Accidental Death of an Anarchist were all the rage for a while, and his play <Rhinoceros in Love> was a record of forty consecutive performances, all of which were sold out, so the charm of the experimental theater can be seen.
As for the bloody scenes mentioned in the main, it is the work of some ignorant and obsessed people who simply borrowed the beautiful name of experimental theater to show off and make a fool of themselves.