Comparative Analysis of Cultural Strategies in Chinese and Russian Performance Art

This paper employs the comparative perspectives of "asceticism" and "madness" to explore the differences and commonalities between Chinese and Russian performance art in terms of cultural logic, expressive forms, and social functions. Chinese performance art is deeply rooted in the traditions of Confucianism, Buddhism, and Daoism, demonstrating an introverted, endurance-oriented, and selfcultivating "ascetic" tendency. It emphasizes silent suffering and self-discipline to critique a "reified" society and achieve spiritual transcendence. In contrast, Russian performance art inherits the rebellious spirit of Futurism and the "Holy Fool" (yurodivy) tradition of Orthodox Christianity, engaging with political and social issues through outward, radical, even "mad" public actions, reflecting a ritualized and collectively appealing form of criticism. By examining the historical trajectories, cultural roots, and representative practices of performance art in both countries, this study reveals how the "body" serves as a medium in constructing distinct yet profoundly culturally reflective modes of artistic expression within an "alternative public sphere".