Dance and Theatre

Previews, Interviews, and Reviews (yes, and Photos) of Dance and Theatre in Thailand (well, and elsewhere) written by "The Nation" dance and theatre critics
Permalink : http://blog.nationmultimedia.com/danceandtheatre

Monday , May 11 , 2009

BLASTS from BEIJING

Posted by dance_and_theatre , Reader : 728 , 21:28:36 | Category : Dance 2009 Theatre 2009 Hong Kong Arts Festival 2009

New productions show how the Chinese capital is becoming another cultural hub. Last August, TV audiences around the world were wowed by the cultural performances staged at the opening and closing ceremonies of the Olympics—many of them products of collaboration between Chinese and foreign artists. The recent Hong Kong Arts Festival, which served as a stage for dance and theatre productions from the Chinese capital, was also a reminder that contemporary performing arts have been blossoming there for many decades—it’s just that we’ve known little about them. Founded in 1959, the National Ballet of China benefited from early collaborations with Russian masters. While the company has turned heads with its classical repertoire of “Swan Lake” and “Giselle”, in the past decade the troupe has traveled more frequently, performing new works like “Raise the Red Lantern”, adapted by Zhang Yimou from his acclaimed movie. Their latest production “The Peony Pavilion” is taken from another Chinese classic, a Kunqu opera from the Ming Dynasty. However, the story has been drastically abbreviated and many dramatic details left out, and the addition of interspersing short episodes of Kunqu opera does not help comprehension. Still, the spine of the story—the immense power of true love—still shines, thanks in major part to the technically outstanding company of dancers, whose physiques are perfect for classical ballet, in addition to the highly symbolic set design which allows them sufficient space. Traditional Chinese costumes add to the drama, though it also means more difficulty for movement. Highly influenced by and rather restricted to western classical ballet vocabulary, the choreography probably needs more intercultural experimentation to make the whole performance more unique. For now, those who know this story by heart may take the performance as old wine in a new bottle; for those who are familiar with this western performing art form, “Pavilion” may be a welcoming path into an ancient culture they have not known of. A dominant representative of China’s contemporary independent theatre movement is the Beijing Tiger Theatre Studio. Their new physical theatre production—or what many call “body performance”—titled “Cool” shows engaging images of various types of brutality in everyday life. Through their frequently repeated physical and verbal routines, the performance by the unified ensemble of six actors with few set props on the dimly lit stage offers a timely reminder that violence is truly all around us and we may have unwittingly engaged in it ourselves. And this is an example of how Chinese artists are making use of western performance forms to communicate new ideas to contemporary audiences. The writer wishes to thank The Hong Kong Arts Festival Society’s Alexia Chow and Dennis Wu for their assistance. written by Pawit Mahasarinand published in ACE Magazine on Sunday, May 10, 2009 photos courtesy of The Hong Kong Arts Festival Society

New productions show how the Chinese capital is becoming another cultural hub.

Last August, TV audiences around the world were wowed by the cultural performances staged at the opening and closing ceremonies of the Olympics—many of them products of collaboration between Chinese and foreign artists.

The recent Hong Kong Arts Festival, which served as a stage for dance and theatre productions from the Chinese capital, was also a reminder that contemporary performing arts have been blossoming there for many decades—it’s just that we’ve known little about them.

Founded in 1959, the National Ballet of China benefited from early collaborations with Russian masters. While the company has turned heads with its classical repertoire of “Swan Lake” and “Giselle”, in the past decade the troupe has traveled more frequently, performing new works like “Raise the Red Lantern”, adapted by Zhang Yimou from his acclaimed movie.

Their latest production “The Peony Pavilion” is taken from another Chinese classic, a Kunqu opera from the Ming Dynasty. However, the story has been drastically abbreviated and many dramatic details left out, and the addition of interspersing short episodes of Kunqu opera does not help comprehension.

Still, the spine of the story—the immense power of true love—still shines, thanks in major part to the technically outstanding company of dancers, whose physiques are perfect for classical ballet, in addition to the highly symbolic set design which allows them sufficient space.

Traditional Chinese costumes add to the drama, though it also means more difficulty for movement.

Highly influenced by and rather restricted to western classical ballet vocabulary, the choreography probably needs more intercultural experimentation to make the whole performance more unique.

For now, those who know this story by heart may take the performance as old wine in a new bottle; for those who are familiar with this western performing art form, “Pavilion” may be a welcoming path into an ancient culture they have not known of.

A dominant representative of China’s contemporary independent theatre movement is the Beijing Tiger Theatre Studio. Their new physical theatre production—or what many call “body performance”—titled “Cool” shows engaging images of various types of brutality in everyday life.

Through their frequently repeated physical and verbal routines, the performance by the unified ensemble of six actors with few set props on the dimly lit stage offers a timely reminder that violence is truly all around us and we may have unwittingly engaged in it ourselves. And this is an example of how Chinese artists are making use of western performance forms to communicate new ideas to contemporary audiences.

The writer wishes to thank The Hong Kong Arts Festival Society’s Alexia Chow and Dennis Wu for their assistance.

written by Pawit Mahasarinand

published in ACE Magazine on Sunday, May 10, 2009

photos courtesy of The Hong Kong Arts Festival Society

Post comment | send mail to friend

Read comment

comment 3
peacefulness date : 12/05/2009 time : 10.28
nationmultimedia.com

beautiful china and traditional music.......

http://www.youtube.com/watch?v=KxVbdGPAfjE&feature=related

comment 2
peacefulness date : 12/05/2009 time : 09.47
nationmultimedia.com

peking opera ...

pics, 西遊記中孫悟空的造型 "sun wu kong (monkey king) journey to the west, one of the great classical novel of china)

comment 1
peacefulness date : 12/05/2009 time : 09.37
nationmultimedia.com

京剧是中国式戏剧的一种，兴起于19世纪中期，到清朝达到全盛时期。它被看成是中国文化艺术的瑰宝。
"Beijing opera or Peking opera is a kind of Chinese opera which arose in the mid-19th century and was extremely popular in the Qing Dynasty court. It is widely regarded as one of the cultural treasures of China."

Comment

"If you are not member, please register to comment.
It take only a few steps."

member sign in | member register

name :
email :
website :
comment :

		back top

<<	May 2009					>>
s	m	t	w	t	f	s
					1	2
3	4	5	6	7	8	9
10	11	12	13	14	15	16
17	18	19	20	21	22	23
24	25	26	27	28	29	30
31