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January 23, 2021

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New play adapted from award-winning novel coming to town

“RED Poppies,” a new play adapted from the award-winning novel “Red Poppies: A Novel of Tibet,” will make an appearance in Shanghai from April 8 to 11.

According to the play’s promoter Joyway Culture, “Red Poppies” will kick off its seven-city national tour in March.

The 1998 novel by Tibetan writer Alai won the Mao Dun Literature Prize, China’s top literary prize, in 2000.

The story centers on the latter days of a Tibetan chieftain and his family, and chronicles the gradual demise of the Tibetan chieftainship.

Shanghai Theater Academy professor and playwright Cao Lusheng wrote the script for the play, which will be performed by Sichuan People’s Art Theater.

“Postmodern plays often have weak scripts,” said Cao. “I’ve always been interested in Tibetan culture and stories, and the play will be very true to the novel.”

“Red Poppies” was adapted to television in 2003, and Cao said the theatrical version will have its own charm.

“The essence of the story will be presented in the two-hour stage production,” he said. “Alai’s vivid writing style is the distinguishing feature of his book. A play is the best form of performing arts to capture the novel’s poetic appeal.”

“Red Poppies” will be the third play adapted from a Mao Dun Literature Prize-winning book that Joyway Culture brings to Shanghai this year. The previous two were “Ordinary World” and “White Deer Plain,” both performed by Shaanxi People’s Art Theater and staged at SAIC Shanghai Culture Square last week.

“Classic award-winning novels can inspire people and give them strength to face life’s harsh realities, which is especially meaningful during the pandemic,” said Zhang Ligang, president of Joyway. “In ‘Red Poppies,’ viewers can ponder what real intelligence is and the purpose of a determined life.”

Zhang said Joyway used to focus on foreign stage productions, including popular musicals like “Mozart L’opera Rock” and “Dame de Paris.” About 90 percent of the company’s previous projects came from abroad.

“The percentage has dropped to about 50 percent, which is partially due to the pandemic,” said Zhang. “But it also shows the company’s intent to introduce more homegrown stage productions to Chinese audiences.”




 

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