Gao Xingjian's works can completely integrate theoretical thinking with creative practice, so that his works are not as empty as other works, but have a solid foundation. Narrative works, communication works, interesting works, polyphonic works, action works and complete works are the six major works pursued by Gao Xingjian. These six forms of works have been discussed and studied by many scholars from different angles. On the contrary,
Absurd art
Gao Xingjian's works span two fields: drama art and novel creation. Among the many characters he created, it seems difficult for people to find traditional Chinese characters. The characters presented to the audience and readers are highly similar. "He always downplays the concrete images of the characters in novels." All the characters seem to be marching in masks. As far as Gao Xingjian's works are concerned, no one has an absolute leading position. No matter the first person's "I" or the second person's "you", the role setting in literary works is the same. In his view, "this will enrich the narrative language of novels, break through the fixed structure and rules in novel creation, and enhance the expressive ability of language art". In the novel Lingshan, Gao Xingjian retains the important position of the protagonist "I". But for readers, the characters in the novel are not clear, neither accurate characterization nor detailed description of inner feelings. His role is only interspersed between multiple narrative clues and multiple stories. Shining between the seemingly loose lines is the same "I". "He is basically a prose writing method, and he uses an extremely calm attitude. Various styles are used alternately, and there are no coherent characters and stories. The structure is very complicated. I in the first person and you in the second person are the same individual, the latter is the projection and spiritual alienation of the former, and the "he" in the third person is the meditation and reflection on me in the first person.
Wandering style
In China's classical literature, there was an ancient proposition long ago that "style is man". Buffon, a French scholar, also clearly put forward the view that "style is people". When readers try to find traces of "style" in Gao Xingjian's novels and interpret the inner world of the characters in the novels, they are often lost in reality. For readers, the "style figures" created by Gao Xingjian are not artistic types with universal aesthetic characteristics, but more serve his "avant-garde art" and "absurd" dramas. It is the unconventional characters created in Gao Xingjian's novels that make readers feel the "style characters" wandering in different novel texts. There are three aesthetic features that need readers' attention. First of all, all the characters have no clear image characteristics, and the author tries to downplay the characterization; Secondly, in most cases, the characters have different forms of "doppelgangers", and only by combining several characters corresponding to different people can we really understand the characters in the novel; Finally, the words of these characters can not help readers understand the novel, but can only serve as a bridge between them. This artistic expression is inseparable from Gao Xingjian's own understanding of literary creation. In his view, the modernist writing style of western literature has greatly impacted the traditional literary model, especially after Nietzsche put forward that "God is dead", denying self, tradition and rationality became the most important characteristics of western literature. China literature has been influenced by Europe and America since the May 4th Movement, trying to change the traditional literary creation mode and create literary works closer to the real state of human beings. However, the traditional Confucian culture in China has undoubtedly become an obstacle to the modernization of China literature. On the basis of clearing up the traditional characterization mode, Gao Xingjian's Style Characters tries to restore the true colors of literature and downplay the discussion of ideology, which has certain positive significance.
Empathy, enlightenment.
Gao Xingjian's novel Lingshan breaks through the limitations of "what to say" and "how to say it" and tries to integrate auditory factors into the genre of "novel". Through the change of question-and-answer form, the exchange of monologue and dialogue, and the change of speech speed and rhythm, the novel is endowed with musicality and a new narrative structure is established. Gao Xingjian borrowed extensively from the expression of China's traditional poetics, was deeply influenced by Zhuangzi, Diamond Sutra, Zen Buddhism and various folk literature forms, and introduced a large number of artistic expressions of western modernism, thus breaking the boundaries of literary genres such as melody, narrative, drama, prose and poetry, and finding a way to express the floating modern spirit. "Gao Xingjian tried to use text music. The core of guiding "self" to return to the main body with music structure is "fluency", which is a kind of fluency power. This fluency power comes not only from the logical power of language and rhythm in the process of progress, but also from the so-called "goodness as water" concept of pursuing "sound" in Tao Te Ching. Where language can reach, make full use of language, and where language can't reach, reach a reconciliation with language through actions, sounds and even "blank", which not only frees from the bondage of language, but also avoids falling into the persistent pursuit of "breaking and clinging", thus reaching the realm of "enlightenment", and then penetrating the language form and entering the state of human existence on the ontological level, so as to create in the Year of Lingshan.
Generally speaking, Gao Xingjian found a way to express the flowing modern spirit. He brought literature back to "self", raised the language form to the core of narrative, constructed an empty "Lingshan" world with "musicality", and completed self-enlightenment in the process of language flow.