Chinese Experimental Theatre - Essay Example

This is a fourteen page Harvard citation style essay with twenty four works cited. The theme of this essay is the following: Chinese experimental theatre is a hybrid product characterized by a convergence of extra cultural and intra cultural stylistic elements and thematic motifs. This essay will endeavor to highlight the cinematic and theatrical productions of Meng Jinghui, Yu Ranjun, Li Yimao and Hu Mei. This essay will also view the requisites for the production of Chinese cinema and theatre. The extra cultural and intra cultural stylistic elements will be explored. One of the most famous theatre directors in China’s avant- garde theatre is Meng Jinghui. Meng Jinghui became attracted to Chinese literature while completing his secondary school education. Meng Jinghui became interested in acting while pursuing an undergraduate degree at the Capital Normal University. Meng Jinghui perceives that his debut into acting was a causal attribution of a metamorphosis in his life. Meng Jinghui’s initial acting part was that of a Kuomintang infantryman, it was a silent part. Meng Jinghui’s first speaking acting part was as a chef where he stated: “Meal time, meal time”. Meng Jinghui acknowledges that the art of acting open a window for him to all of the advanced cultures of the world and their diverse literary perspectives. As a college senior, Meng Jinghui was introduced to avant- garde playwrighting when he readapted the Story of Western Chamber. This was a Yuan dynasty romantic opera. Meng Jinghui adapted the romantic opera into a modern comedy with three distinct endings. One of the endings was an adaptation of Henrik Ibsen’s A Doll’s House. While studying at the university, Meng Jinghui was able to interpret works by Pinter, Ionesco, Beckett and Genet. Meng Jinghui learned that farcical theatrical presentations reaffirmed the concepts which he would late apply. These concepts consisted of injecting comedy and musical interludes into his playwrighting. In 1992, Meng Jinghui was able to find suitable employment with the National Theatre Company of China. This occurred consequent to his graduation from the Capital Normal University (China Culture 2006). In the years which followed, Meng Jinghui directed over ten major Chinese theatrical presentations. Meng Jinghui’s major theatrical presentations include: Comrade AhQ, Waiting for Godot, The Accidental Death of an Anarchist, Rhinoceros in Love, Si Fan, The Balcony, I love XXX and Bootleg Faust. Meng Jinghui’s specialty is to dissect the work of other playwrights, reinterpret them and then to aggregate a comical and musical perspective to them. Meng Jinghui’s specialty also includes the ability to interpret these works and to present them within the parameters of the requisites of the Chinese government (China Culture 2006). Many of China’s leading playwrights have selected Henrik Ibsen’s style of realism as the predominant style in theatrical presentation. Other playwrights are considered in the production of Chinese theatre. These playwrights are Anton Checkhov, George Bernard Shaw, and Constantin Stanislavsky. Henrik Ibsen’s style of realism is considered in the light of China’s socio- economic context (Zhao 2010). Meng Jinghui’s theatrical presentations also represents and appeals to members of the audience who advocate change irrespective of gender (Roberts 2006). One of the most highly acclaimed modern drams in Chinese theatre is Rhinoceros in Love. This drama tells the story of a zoological park attendant whose name is Ma Lu. Ma Lu becomes romantically and erotically obsessed with a woman who is beyond his reach Mingming. Ma Lu in his incessant desire for Mingming displays a twenty first century aspect of Chinese theatre. This aspect contrasts physical desires and spiritual desires (National Theatre of China 2011). Rhinoceros in Love tells the story of Ma Lu’s desire and the beautiful and non reactive Mingming. In the drama, Ma Lu attempts to elicit desire and jealousy from Mingming y pretending to acquire two girl friends, Honghong and Lili from an acquaintance named Toothbrush as consorts. Finally in desperation, Ma Lu abducts Mingming in an attempt to elope with her. This drama is a tale of the desires of the human will. The question which this drama causes the audience to raise is the following: Is it worth losing everything in order to gain what one perceives as true love? The director of this drama is Meng Jinghui, the playwright of this theatrical drama is his spouse, Liao Yimei (National Centre for the Performing Arts 2010). Rhinoceros in Love (2004) is the first theatrical presentation in the Pessimism trilogy. The second theatrical presentation is titled: Amber (2006). Amber is the second theatrical presentation in the Pessimism Trilogy. This multimedia musical tells the story of a man who becomes defunct as a result of a mishap. Consequently, the victim’s heart is transplanted into the body of an immoral man. The fiancee of the victim perceives that it is her responsibility to assist in the transformation of the immoral man who received her fiancee’s heart into a moral man. This multimedia musical presentation is directed by Meng Jinghui and was written by his wife, Liao Yimei during the stages of her pregnancy (University of Iowa Cultural Center, n.d.).The third theatrical presentation is titled: Soft (2010) or Rou Ruan (2010). The third theatrical presentation Soft addresses the intricacy of interpersonal relationships. One of the roles portrayed in Soft is a female physician. Another role in the theatrical presentation titled: Soft is a youthful male who is experiencing confusion in regards to his sexual role in Chinese society. Meng Jinghui’s Soft Looks at gender issues. Meng Jinghui mastery at presenting theatrical presentations without censure by the Chinese government is demonstrated in the theatrical presentation titled: Soft (University of Iowa Cultural Center n.d.). Chicken Poets (2002) conveys the story of Yun Fei. In the beginning of the story, Yun Fei arrives at a small town in the suburbs of Beijing. Yun Fei has arrived in order to meet a colleague who composes poetry. The name of this colleague is Chen Xiaoyang. Chen Xiaoyang has invented a black chicken farm. Chen’s objective is to replace all of the white chicken eggs which are being consumed with black chicken eggs. Strange things begin to occur in the small suburb of Beijing. Yun Fei meets a color blind girl named Fang fang. Fang fang aspires to become an air passenger attendant. Fang fang becomes enamored with Yun Fei. Fang fang’s emotional attachment to Yun Fei does not motivate him to become a renowned poet. Yun Fei procures a counterfeited CD which he later finds to possess magic characteristics. The magical characteristics possessed by the counterfeited CD enable Yun Fei to become a renowned poet. Notwithstanding, Yun Fei continues to be dissatisfied with his achievements and with Fang fang. Yun Fei’s acquaintance Chen Xiaoyang is nowhere to be found. The black chicken farm which was conceived by Chen Xiaoyang becomes infected with a strange disease. Finally, Yun Fei becomes tired of Fang fang and his desire of becoming a renowned poet. Yun Fei leaves the magical counterfeited CD in a mound of chicken excrement in a rice field. Yun Fei then proceeds back to the black chicken farm where he decides to reside in seclusion. When Yun Fei falls asleep, he envisions that the mound of excrement where he has placed the magical counterfeited CD blossoms into a magnificent tree. This magnificent tree which Yun Fei has envisioned in his dreams yields wonderful poetry as a fruit. As a result of the magnificent tree’s fruit which is poetry, Yun Fei and Fang fang are able to live happily ever after as the reap the wonderful fruit of poetry from the magnificent tree which haqs grown from a pile of chicken excrement and the magical counterfeited CD. This theatrical work of art was written by Liao Yimei and was directed by her husband Meng Jinghui (University of Iowa Cultural Center 2002). Qin Hailu interpreted the role of Fang fang in the movie the Chicken Poets (2002). Many members of the audience are asking if Qin Hailu is attractive enough to become a cinematic icon (China Daily 2003). The presence of the Georgian poet Vladimir Mayokovski is alive and well in the cinematic presentation titled the Chicken Poets directed by Meng Jinghui. This iconic presence causes a cultural and ethical dilemma: Artists who were perceived as being non commercial are appealing to the commercial markets. This dilemma is further accentuated in the setting of the Chicken Poets (2002). The village is in the suburbs of Beijing. This effect demonstrates a rural materialism and a cultural modesty. There are distinctions between the cultured (ya) and the modest (su) (Ferrari 2009). The idealistic philosophy portrayed in Chicken Poets (2002) by the adoration of Vladimir Mayokovsky by his fans and the desires of Fang fang to become an air passenger attendant are masterfully presented by director Meng Jinghui as a commercial product. This is the dilemma expressed by director Meng Jinhui. The dilemma is the material desires versus the spiritual desires (Tonyin china.com 2002). This recurrent them continues in Chicken Poets (2002), Rhinoceros in Love (2004), Amber (2006) and Soft (2010) (Ferrari 2011). The elements and motifs contained in Chicken Poets (2002), Rhinoceros in Love (2004), Amber (2006) and Soft (2010) are elements of the contemporary creative woodcut movement. This movement was the causal attribution for change in the manner which Chinese art was perceived in the 1930s. Cai Yuanpei was a fervent promoter of meiyu which translates into the aesthetic training and learning. This perspective along with its political alignment distinguished the creative woodcut movement as an avant- garde revolution. Other characteristics of the creative woodcut movement were that the perception and appreciation of art was for all of the masses, including the proletariat (Ferrari 2009). Meng Jinghui is a product of the poetic idealism of the 1980’s university generation. The following years of social, economic, political and cultural metamorphosis are reflected in Meng Jinghui’s theatrical expressions. These outcomes now reflect in the twenty first century Chinese theatre. The 1980s were perceived as the beginning of a crisis in the post Mao Zedong China. The university entrance examinations were reinstated in China. This was after a two decade long exclusion of university admissions for all Chinese citizenry by Mao Zedong and members of the Chinese Communist party during the Chinese Cultural Revolution. University entrance examination privileges were reinstated by Deng Xiaoping. Many of the intellectual resources of China were ignored and persecuted by Mao Zedong. Deng Xiaoping initiated a social reconstruction of China’s intellectual resources. This social reconstruction program initiated by Deng Xiaoping caused an intellectual blossoming which reverberated in the university campuses of China during the decade of the 1980s. Before this fact, university education was only made available to an elite 1% of the Chinese population. This exclusionary period extended from 1970- 1985. The expression of the intellectual blossoming which occurred during the post Mao Zedong China is exemplified in Chicken Poets (2002). The traditional endeavor of farming is an endeavor which would have been encouraged the Chinese Cultural Revolution. The endeavor of poetry would not have been as well encouraged during the same time frame. The composition of poetry would have been an endeavor which would have been an outcome of the Chinese intellectual blossoming which occurred. The Chinese intellectual blossoming was a result of the installment of university entrance examinations for all Chinese citizenry. This reform was instituted by Chinese leader Deng Xiaoping (TonyinChina.com, n.d.). Chinese leader Deng Xiaoping enabled reform programs which assisted 300 million Chinese citizens in removing the oppressive yoke of poverty. Deng Xiaoping was also the architect who enabled reform programs which facilitated 200 million Chinese citizens to migrate into the towns and cities from a countryside where poverty was the norm. Deng Xiaoping was responsible for initiating reforms which modernized China. The implementation of the reforms initiated by Deng Xiaoping enabled China to convert from a tight fisted socialist economy to an industrial nation with free market reforms. The reforms implemented by the administration of Deng Xiaoping are among the greatest changes which have been put into effect in China since the administration of the Han dynasty over two thousand years ago (French 2011). As a consequence of the implementation of the administration of Deng Xiaoping’s public policy in China, many more members of the Chinese audience are erudite and affluent. These qualities have facilitated the audience’s ability to comprehend and to become influenced by Western ideas (Concesion 2002). The rapid ascent of China as an industrialized nation has led to persistent media investigation and scholarly pondering. As a consequence of the persistent media investigation and scholarly pondering, the windfalls and pitfalls of Chinese society which have occurred as a result of the administrative policies of the Chinese government at the end of the twentieth century are brought to the attention of the global psyche. The dominance of the Chinese state in Chinese theatre continues. These factors must be considered in the perspective of the Chinese state – society relationship (Hasmath & Hsu 2009). The Chinese celluloid film industry also came under political scrutiny under the centralized economy of China. This caused Chinese party officials to oversee all aspects of the direction and manufacture of any cinematic work. The primary filming groups which received government funding were involved in the production of social realism. Instead of indoctrination, these cinematic works of art reinforced the ideological perspective of socialism in day to day life (Tibrand 2008). Meng Jinhui’s manner of theatrical presentation is eclectic by Beijing’s criteria. The Central academy of Drama is one of the most creative of the China government theatres. The implementations of China’s late leader Deng Xiaoping and his policies which initiated the Cultural Revolution permanently altered the Central Academy of Drama and the Shanghai Theatre Academy. These artists are allowed autonomy as was achieved in the 1950s Soviet pattern. The towns and municipalities previously financed the theatrical academies. Administration of these endeavors was assigned to the local government until the 1990s. Acting roles were assigned to actors who concurred with the government policies. The graduates from the university programs were delegated to specialized acting groups upon the completion of their university degrees. The actors, playwrights and directors were subject to censure or in more extreme cases complete withdrawal of financial support from their state sponsors. The Chinese government continues to maintain central control of the academies and theatres. Many artists have responded to the threat of censures or financial abandonments by endeavoring in privately sponsored commercial productions. The most popular cinematic and theatrical artists are those who unquestioningly follow the edicts of the Chinese government. Meng Jinghui has become adept in the direction of his Chinese experimental theatre. His skill has enabled him to produce creatively while remaining within the parameters of the requisites of the Chinese government. Yu Ranjun is another Chinese director who has tactfully managed the art of directing theatrical productions in a manner as to maintain them within the parameters of the requisites of the Chinese government. Yu Ranjun’s style of directing is parallel to Meng Jinghui’s style of directing theatrical productions. Yu Ranjun adds a flavor of humor and comedy to his theatrical artistic directing endeavors. Yu Ranjun’s artistic expression is similar to that of television novels which are presented on the television media and the cinema. In China, the audiences consider that attending a live theatrical presentation directed by Meng Jinghui or Yu Ranjun to be a wholesome form of entertainment. These two cinematic and theatrical directors are molding twenty first century Chinese theatrical and cinematic arts (Ferrari 2011). Many of the concepts of Pan – Asian cinema are classified into three diverse categories of cinema. The three diverse categories are commercial worldwide cinema subsidized by the government, independent artists and Pan- Asian cinema production produced by the Asian exiled population (Zhang 2007). South Eastern Pan- Asian cinema is perceived as an interchange of cultures, resources and technologies. South Eastern Pan Asian cinema incorporates a variety of perspectives. These perspectives which represent the external aspects are those which facilitate Pan Asian cinema’s existence. The internal aspects are what emphasize the cultural and artistic aesthetics. The historical aspects incorporate investigation into history and the origins of culture. The lateral aspects of South Eastern Pan Asian cinema incorporate interactions between the types of media and their research. In this manner the national identifiers and the boundaries which compare and contrast East and West may be evaluated and adapted (Ferrari 2009). In the context of the Journey to the East’ 97 the participating directors were required to produce theatrical works which contained a modest Chinese opera set. This set consisted of one table and two chairs. This set was a satirical allusion to the post- 1997 administration of Hong Kong. Taiwan was also alluded to in this set. This set is symbolic to the cultural and national insecurity experienced by both Hong Kong and Taiwan with regards to Mainland China. Shakespeare’s King Lear is representative of the dilemmas faced by Hong Kong and Taiwan. Mainland China is represented by King Lear, with the relationship between them represented as King Lear’s daughters, Goneil, Regan and Cordelia. The Shakespearean motifs are quite influential in the theatrical works of Meng Jinghui (Ferrari 2009). A good example of South Eastern Pan Asian cinema is the cinematic work titled Confucius co written and directed by Hu Mei. Hu Mei completed her tertiary education at the Beijing Film Academy in 1982. She was able to produce her first film two years later. Hu Mei and her colleagues are regarded as fifth generation film makers. Her objective has been to reestablish and reorient Chinese cinema. Hu Mei is the recipient of many domestic honors, one of which being her appointment as a participant in the CPPCC. This honor consequently was a stepping stone to her receiving the honor of serving the community as a Deputy in the Beijing Committee of the National People’s Congress. Hu Mei is categorized as a first class director by the China Cinematic Group Art center. The line producer is Chui Po- Chu who has extensive experience in the cinematic industry of Hong Kong. Her works have been demonstrated in Ang Lee’s Crouching Tiger, Hidden Dragon, Ronny Yu’s Fearless and Stephen Chow’s Kung Fu Hustle. The co-writers are Khan Chan who is a scholar in the ancient expression of Chinese language and literary works. He has extensive experience in the Hong Kong film industry. Khan Chan also has published poetry. He Yanjiang is a co- writer who earned his tertiary education at the Beijing Film Academy. He has extensive experience in television work. Jiang Qitao is a co-writer who completed his tertiary education at the PLA Academy of the Arts in 1989. His credits include military academic works as well as being a member of the Chinese Authors Guild. The protagonist of Confucius is Chow Yun Fat who is world renowned for his acting participation in South Eastern Pan Asian cinema. Chow Yun Fat is originally from Zhongshan, Guangdong Province in China. He was raised in Hong Kong and has participated in dozens of cinematic productions. Chow Yun Fat is recognized in Hollywood for his participation in the cinematic production titled : The Replacement Killers. Chow Yun Fat’s acting credits include: Anna and the King, Crouching Tiger, Hidden Dragon, Bulletproof Monk, Curse of the Golden Flower and Pirate’s of the Caribbean: At World’s End. Chow Yun Fat is a globally recognized and respected actor (Organic Marketing 2010). Conclusion The changes which include sociological, economic, political and technological factors have extended themselves to the Chinese cinema and theatre. This essay addresses a few of the factors which have influenced the Chinese cinema and theatrical production industries. China has experienced unprecedented economic growth for the past seventeen years. The directors, playwrights and actors mentioned are influential in the development of Chinese cinema in its expression as a communicative and art form. There are many changes yet to be realized as the Chinese economy and consumer awareness is growing at a rapid rate. Meng Jinghui and Yu Ranjun are at the avant-garde of the Chinese cinematic and theatrical expressions. Hu Mei is a leader in her respective field. The twenty first century has been acclaimed as the Asian century. It will be interesting to view the professional growth of these theatrical and cinematic directors as China becomes the largest economy in the world. 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Melbourne Festival 2011 ‘Rhinoceros in Love National Theatre of China’, viewed on December 27, 2011 http://www.melbournefestival.com.au/program/theatre Organic Marketing 2011 ‘CAST Organic Marketing’, viewed on December 27, 2011. http://www.organic-marketing.co.uk/.../CONFUCIUS%20Press%20Pack Roberts, R 2006, ‘From Zheng Qiang to Jiang Shuiyang: The Feminization of a Revolutionary Hero in Maoist Theatre’s Song of the Dragon River’ Tibrand, A 2008, ‘Representations- Practice- Spectatorship: A Study of Hap tic Relations Between Independent Cinema and Market Led Urbanization in Contemporary China’ Center for East- South- East Asian Studies, Lund University, viewed on December 27, 2011 Tony in China ‘Chicken Poets (2002)’, viewed on December 27, 2011. http://wwwtonyinchina.com/china4/chinaculture/chickenpoets/chickenpoets Zhang, Z 2007, The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty First Century Duke University Press 2007 Zhao, L 2010, ‘A Chinese Intellectual’s Journey: Lin Shen’s adaptation of Daoban Fushide (The Pirated Faust, 1999)’. 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