Program directors have been busy working behind the scenes trying to iron out the details on which overseas shows and concerts to invite to China.

At the same time, overseas groups have used the monthlong 15th Shanghai International Arts Festival, which ends next Monday, to peruse Chinese productions they feel would be successful in Western countries.

About 255 intents have been reached among the artists and organizations, according to the Program Exchange Department of the Center for the Shanghai International Arts Festival. Of those, 115 Chinese programs have been invited by overseas organizations, 82 foreign programs have been invited to China, while 58 agreements have been reached among domestic organizations.

Catherine J. Wang, president of the Center for Shanghai International Arts Festival, says it’s a bit early to tally up the totals.

“I don’t want to comment on the numbers, as usually very few contracts are made during the festival’s performing arts fair,” she says. “What we do is providing a platform where the professionals can exchange information and ideas.”

Chen Qiang, director of the Center for Shanghai International Arts Festival’s program exchange department, says the majority of intents are reached in the days and weeks after the festival.

Tan Dun’s symphony “Women’s Script,” which includes a series of short films, and China National Theater’s drama “Green Snake” are among the productions several overseas groups are considering bringing to their countries.

Young artists like dancer Ding Yi are also garnering attention from overseas organizations. Her innovative dance drama “Spinning Top” has potential with its combination of modern dance, acrobatics and Chinese operas. Still some organizations have said they want her to improve it before they agree to bring it overseas.

Meanwhile, overseas artists like the Ukrainian a cappella group La Vivo has been contacted by 11 Chinese organizations, including the Shanghai Symphony Orchestra, about performing in China.

The festival’s performing arts fair was established in 1999. And like the festival itself, it has witnessed rapid growth in 15 years.

Booming participants

Chen says the first exchange fair only attracted 15 overseas organizations compared to 105 this year. Of those, more than 40 are considered major program buyers like the Edinburgh International Festival, Melbourne International Arts Festival, Vienna Festival, Major University Presenters and Queensland Performing Arts Center.

“We have a group of regular customers who come to the fair every two or three years,” Chen says. “They are usually the same group of people who have frequent cultural exchanges with China. But there are also new comers to the fair each year looking for good programs or to explore the Chinese market.”

Luigi Melecchi, managing director of Fataka International in Italy, has been bringing programs such as Bocelli’s concerts to China since 2004. He has visited again this year, introducing another eight programs.

“The Chinese market has expanded greatly in the past 10 years,” Melecchi says.

“At the beginning, our options were merely about holding concerts in Beijing or Shanghai. But now, at least 20 to 30 cities in China can host concerts as they have new venues and good theaters. We even have a concert in Liuzhou (in southwest China’s Guangxi Zhuang Autonomous Region) on our plan this year; and I have to check on the map to see where it is.”

Melecchi says he likes working with his Chinese partners in selecting the best programs for China. They have a better feel for what audiences will like and the best ways to reach different targets.

While art certainly can transcend cultures, things don’t always work out due to different expectations.

Denis Bergeron of Prom’Art Performing Arts Promotion brought its children’s drama to this year’s festival but it has received mixed review.

“I think the challenge is that we do contemporary art which is not well-established in China,” Bergeron says. “The Chinese were expecting puppets and dolls for Children’s drama, but we don’t do that.

“We are not here to say that this is the best, but to work with China and see how we can adapt our work to suit the Chinese people.”

Popular programs

Established art forms such as symphonies, ballets and distinctive national dances are still the most popular overseas programs in China, says Chen.

“Though there is an increasing number of Chinese who accept modern and contemporary works from overseas, they are usually productions that have been around several years and have developed good brand-names, such as Les Ballet de Monte-Carlo and Bejart Ballet Lausanne,” says Chen.

It is similar with introducing Chinese programs to the West. Programs with strong traditional Chinese elements such as Kunqu Opera and Chinese music still receive the bulk of invitations, according to Chen. But this is changing. Contemporary programs are getting more attention overseas.

Weng Shihui, associate producer of the National Theater of Scotland, who has been working with national and independent theater makers in China for the past two years, says: “Although traditional and classical art forms still have a certain appeal to Western audiences, they are keen to know more about today’s China and theater works dealing with contemporary issues.”

Human nature of craving new experiences may be one reason for the changes. But the high costs of a large cast and transporting lots of equipment and big sets that are associated with traditional programs also contribute to the market changes, says Chen.

“Most of the big traditional programs that have been performed abroad have been invited by oversea festivals that receive government support. They are excellent and attractive, yet too costly for commercial performances,” Chen says. “But the smaller, innovative programs usually don’t have that problem.”

“Aquatic,” or “Shui Sheng,” is a small production, but has been one of the festival’s most popular programs this year. It combines elements of Chinese opera with physical theater while telling a very Chinese story.

“I think the key lies in the similarity between the body language of traditional Chinese opera and Western physical theater,” Chen says.

“This makes it familiar to Westerners while providing something new and different at the same time.”