At the International Experimental Theater Festivals that have been held in Vietnam, the countries that brought works to participate also followed the trend of using less to describe more, using the minimum to describe the maximum as assessed by many experts and thearter activists.
In fact, Vietnamese storytelling stages should continue to assert its own identity in the general flow of world drama. Vietnamese storytelling stages should absorb endogenous elements — the quintessence of traditional theater to form its own, unique identity, its own voice to preserve its uniqueness in interacting with the world.
1.1.1. Narrative principles of traditional theater
This is the most dominant factor for other principles of Tuong and Cheo. As a form of theater that tells stories narratives… so basically, traditional theater is completely different from Western drama stage. If most Western theater follows a dramatic structure (dramatique) such as an ongoing story called the Aristotelian drama then the traditional Vietnamese theater has, since its formation, followed this method narrative script (epique) — a story that is retold.
Western drama has strict regulations on space, time and dramatic action lines. That rule is clearly reflected in a Western theatrical work, which often describes a certain place, a certain period of time and describes a single action. In classicism, the law of three uniqueness became a condensed principle that had to be followed. Although this law was opposed right from its inception because it was too restrictive, it is still a model and classic for Aristotelian drama. If you want to have a drama work that follows the traditional drama line that was summarized by Aristote and followed for thousands of years, you must try to have a limited space and concentrated time to increase the level of drama and its unique nature. Unique qualities and unified action criteria are still required to be maintained as a way to preserve the stage’s characteristic of presenting things and phenomena.