The Narrative Functions of the Nuo Mask in the Physical Theatre Production Aquatique

Abstract

The Nuo mask occupies a central place within the tradition of Chinese Nuo ritual theatre (nuoxi), where it functions simultaneously as a religious artefact and an artistic device (Wang, 2004; Fischer-Lichte, 1992). In contemporary Chinese theatre, a number of directors have sought to negotiate the boundary between Eastern ritual heritage and Western physical theatre, generating a body of work that foregrounds intercultural theatrical innovation. Aquatique, produced by Theatre Santuoqi in 2012 and directed by Zhao Miao, exemplifies this cross-cultural negotiation: the production integrates Nuo masks with the physicalized vocabulary of European-influenced physical theatre, adapting a ghost story from Pu Songling's classical collection Liaozhai Zhiyi into a non-verbal performance language accessible to international audiences.

The present article examines the modern narrative deployment of the Nuo mask — a traditional non-verbal sign — within Aquatique. Drawing on content analysis of performance footage and semi-structured interviews with the director and a principal cast member, and informed by the semiotic frameworks of Fischer-Lichte (1992) and Pavis (1992, 1998), the study identifies three interrelated narrative functions realised by the Nuo mask in this production. First, the mask constructs an intercultural system of character identification, providing international audiences with clear visual anchors for role recognition. Second, through its interaction with ritualized physical movement, the mask advances plot narration, operating as a non-linguistic grammar that transcends language barriers. Third, the mask achieves emotional resonance by catalysing cross-cultural empathic engagement, working in concert with bodily expression to trigger affective responses grounded in universally shared human experience.

The findings suggest that the integration of the Nuo mask into physical theatre constitutes a significant and replicable model for the contemporary transformation of traditional cultural symbols, offering a sustainable practice for intercultural theatrical exchange and providing a precedent for the global circulation of Chinese performance heritage.