Luring bigger audiences to smaller theaters
By Nie Xin |
February 1, 2013, Friday
|
Print Edition
Print Edition
SHANGHAI dramatists are trying to attract theatergoers to experimental theater, or little theater, which has been around 30 years and, they say, is widely misunderstood as being obscure and difficult.
It's not obscure, they say, but nor is it silly mainstream romantic comedy about love and money that's popular today.
Two projects will be launched this year, starting in March, to popularize the little-theater genre that covers a range of subjects.
The small-theater setting shortens the psychological distance between actors and audience.
In March, Shanghai Drama Arts Center will launch a two-year experimental drama campaign "Waves Behind" ("Hou Lang"), staging both domestic works and Chinese adaptations of Western classics of experimental theater.
In June, director Yu Manwen will launch a "Seed Theater" project at the Mini Theater in 1933 Old Millfun, to allow artists in different fields, from opera to calligraphy, to tell their stories and explain their art on stage. Not all will be professional actors.
Productions will be in Chinese, with English subtitles.
Director Yu calls "Seed Theat
er" an "original creation carnival for young artists." The first "Seed Theater" show in June will be about Kunqu Opera artists directed by Yu herself. Only a couple of actors will take part, performing traditional opera vocals and answering questions about Kunqu.
'Seed Theater'
"There are many behind-the-scenes stories in all art fields - Chinese traditional operas, paintings and calligraphy, music and dance. We use the stage to present the appeal and stories of those arts and encourage young artists to present their creations," Yu says.
The "Seed Theater" project to promote creative theater is sponsored by the Ze-Ren Female Artists Community Special Fund founded this January by Yu and her independent drama studio Ze-Ren.
"More and more voices are encouraging people to appreciate real experimental theater arts, enjoying the most original drama creations," Yu says.
"We are presenting our attitudes, not merely catering to audience taste about 'hot topics'," she says.
"Many theatergoers define experimental or mini theater as only being small-stage and small-audience productions. That's totally wrong," says Alex Wu, director of programming and marketing of Shanghai Drama Arts Center.
The difference between experimental theater and mainstream theater is not the simple version versus the hard-cover edition. Mini theater focuses on original, pioneering experiments and is vital to creativity, Wu says.
Experimental theater began in France in the 19th century with the Free Theater campaign and became popular throughout Europe, the United States and Japan.
It's a reaction to commercialism in Western theater and promotes exploration of ideas, Wu says.
Experimental theater started in China in the 1980s in Shanghai and Beijing. Today it has spread to a number of cities, including Wuhan, Guangzhou and Shenyang.
The "Waves Behind" program of the Shanghai Drama Arts Center will feature 24 small theater works over this year and next, marking the 30th anniversary of Chinese experimental theater. All the works have been staged over the past 15 years. From March to July, six works will be staged in Chinese without English subtitles, including the Broadway classic "Oleanna," "Proof," Suskind's "Double Bass," Yu Rongjun's "Dust to Dust," the black humor production "Ren Mo Gou Yang" ("Pretending To Be One Who Is Not") and Sartre's "No Exit."
Cultural environment
In general Beijing has better cultural environment for experimental theater, with more good groups, venues and an appreciative audience, Wu says, adding that Shanghai is coming along.
"I believe the trend of theater-going started with experimental theater in Shanghai in 2000 and we hope it can become a lifestyle," says Han Sheng, the director of the Shanghai Theater Academy.
The Mini Theater at 1933 Old Millfun, a spectacular creative hub in an old abattoir, is one of two theaters in the space and was specially designed for small performances. The other venue is the Sky Theater on the fourth floor.
Last year, 67 shows were staged at the theaters, including 50 at the mini one. Box office was good, the theater said, with tickets priced at 50 to 150 yuan (US$8-24).
It's not obscure, they say, but nor is it silly mainstream romantic comedy about love and money that's popular today.
Two projects will be launched this year, starting in March, to popularize the little-theater genre that covers a range of subjects.
The small-theater setting shortens the psychological distance between actors and audience.
In March, Shanghai Drama Arts Center will launch a two-year experimental drama campaign "Waves Behind" ("Hou Lang"), staging both domestic works and Chinese adaptations of Western classics of experimental theater.
In June, director Yu Manwen will launch a "Seed Theater" project at the Mini Theater in 1933 Old Millfun, to allow artists in different fields, from opera to calligraphy, to tell their stories and explain their art on stage. Not all will be professional actors.
Productions will be in Chinese, with English subtitles.
Director Yu calls "Seed Theat
er" an "original creation carnival for young artists." The first "Seed Theater" show in June will be about Kunqu Opera artists directed by Yu herself. Only a couple of actors will take part, performing traditional opera vocals and answering questions about Kunqu.
'Seed Theater'
"There are many behind-the-scenes stories in all art fields - Chinese traditional operas, paintings and calligraphy, music and dance. We use the stage to present the appeal and stories of those arts and encourage young artists to present their creations," Yu says.
The "Seed Theater" project to promote creative theater is sponsored by the Ze-Ren Female Artists Community Special Fund founded this January by Yu and her independent drama studio Ze-Ren.
"More and more voices are encouraging people to appreciate real experimental theater arts, enjoying the most original drama creations," Yu says.
"We are presenting our attitudes, not merely catering to audience taste about 'hot topics'," she says.
"Many theatergoers define experimental or mini theater as only being small-stage and small-audience productions. That's totally wrong," says Alex Wu, director of programming and marketing of Shanghai Drama Arts Center.
The difference between experimental theater and mainstream theater is not the simple version versus the hard-cover edition. Mini theater focuses on original, pioneering experiments and is vital to creativity, Wu says.
Experimental theater began in France in the 19th century with the Free Theater campaign and became popular throughout Europe, the United States and Japan.
It's a reaction to commercialism in Western theater and promotes exploration of ideas, Wu says.
Experimental theater started in China in the 1980s in Shanghai and Beijing. Today it has spread to a number of cities, including Wuhan, Guangzhou and Shenyang.
The "Waves Behind" program of the Shanghai Drama Arts Center will feature 24 small theater works over this year and next, marking the 30th anniversary of Chinese experimental theater. All the works have been staged over the past 15 years. From March to July, six works will be staged in Chinese without English subtitles, including the Broadway classic "Oleanna," "Proof," Suskind's "Double Bass," Yu Rongjun's "Dust to Dust," the black humor production "Ren Mo Gou Yang" ("Pretending To Be One Who Is Not") and Sartre's "No Exit."
Cultural environment
In general Beijing has better cultural environment for experimental theater, with more good groups, venues and an appreciative audience, Wu says, adding that Shanghai is coming along.
"I believe the trend of theater-going started with experimental theater in Shanghai in 2000 and we hope it can become a lifestyle," says Han Sheng, the director of the Shanghai Theater Academy.
The Mini Theater at 1933 Old Millfun, a spectacular creative hub in an old abattoir, is one of two theaters in the space and was specially designed for small performances. The other venue is the Sky Theater on the fourth floor.
Last year, 67 shows were staged at the theaters, including 50 at the mini one. Box office was good, the theater said, with tickets priced at 50 to 150 yuan (US$8-24).
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