Reformulation of the theatrical language in the context of the relationship between western and eastern performing art

In this article, the authors attempt to define new qualities of the language of the European theatre, whose reformulation has been facilitated by the plastic means of acting expression borrowed from the Asian theatre. Thanks to the theories of Artaud and Craig, the dramaturgy of Claudel and Yeats, and the practices of Stanislavski, Brecht, Grotowski, Mnouchkine, Barba, Vasiliev and Okhlopkov, the code of the modern Western theatre has been renewed in terms of the actor's psychological plasticity. The text in a performance ceases to be an instrument for conveying the meaning. Instead, through gestures, movement and dance, there is the possibility of reaching the heights of the author's thought.