Testing the limits of theater with ‘The Balcony’
Print Edition
FOR most people, theater and chemistry are like the opposite ends of a pole that have nothing in common.
But not in the case of Gao Xiaoqin.
The chemistry major developed an interest in poetry as a student of Fudan University and then moved on to become a professional poet, literary critic, playwright and a drama director after graduating in 1995.
And she has excelled in every field.
Gao’s plays are filled with poetic beauty; her collection of poems, “Who Fed Me,” has influenced other Chinese poets and scooping the Anne Kao Poetry Prize in 2010.
But her achievements in literature and arts go far beyond that.
Gao, a native of Shanxi Province, has gathered some of the big names from China for her latest work — “The Balcony,” a classic of French master Jean Genet.
“When we started to talk with the others about a possible cooperation, we had no idea which play it would be,” says Gao, 43. “The cross-over collaboration seemed to be more important. Working with artists who have contributed in their own fields was far more attractive.”
There will be a lot of improvisation, she adds. “So I cannot tell you now what the play is like because it will be changing.”
To mark the 30th anniversary of Genet’s death and the 60th anniversary of “The Balcony,” a series of events including book reading, stage shows and lectures will be organized by Gao’s Uncertainty Theater from next month.
In “The Balcony,” well-known Chinese architect Chen Xudong will design the stage; experimental musician Li Jianhong will play live music; and Kang He, a famous novelist and experimental theater director, will screen a video.
The play also incorporates paintings of Chinese indie artists and poets Han Bo, Che Qianzi and Ning Zuohong.
The play is based on the latest Chinese version which has been translated by Cheng Xiaomu, says Gao.
In a stunning series of macabre, climactic scenes, Genet presents his caustic view of man and society in his original work.
“Genet was never satisfied with any of the productions of ‘The Balcony,’ including those by masters like Peter Brook or Richard Schechner,” Gao says.
“Genet used to talk about his play like, ‘my play is not ‘ironic,’ but should focus on ‘reflecting’ and ‘image’,” Gao says. “We are the royal betrayer of Genet, and we are doing a ‘heresy’ of ‘The Balcony’.”
Gao founded her own theater troupe Uncertainty Theater in 2004. The group works as its name suggests — full of uncertainties and exploring all possibilities.
From poetic theater, environmental theater, realistic theater to other forms of theaters, Gao has not stopped exploring all the possibilities.
“In recent years, we have been trying to connect plays with tradition,” she says.
In her productions, Gao tries to present the human emotions from deep within the heart. In her 2005 production, “Two: Paper Door,” (贰：纸门) Gao focuses on the development of women; “Flowing Words” (浮游语切切) deals with languages; and “Where Is the End” (伊胡记) produced in 2013, pushed her audiences to the extremes.
Most of Gao’s works are staged at Down Stream Garage, a popular venue for most non-mainstream plays.
Gao has always used theater to explore the human consciousness and touched on topics that no commercial organization would even dare think of.
For her 2007 work “Diary of Seducer,” Gao put two unknown people — a man and a woman — inside a close space and told them to do anything to each other.
“Nobody knew what would happen in this space. I just wanted to study the nature and passion of human beings,” she says.
“The play was staged in a closed and dark place at the Down Stream Garage with the audiences settled between the performers and art pieces from where nobody could run away.
“This ‘uncertain’ space brought about all the possibilities — nobody knew what would happen in the next second. This is charm of environment theater,” Gao says.
She has also touched on taboo topics in some of her works like homosexuality in “Three Drops of Water — Everyone is a gay.”
In “The Balcony,” the audiences will see two male actors holding hands in a video shot by Kang He.
“The play will set free the most original face of the theater, stimulate the nature of ‘play,’ and bring a brand new experience,” Gao said.
Date: July 7-9, 7:30pm (July 7 for invitees only)
Venue: Power Station of Art, 200 Huayuangang Rd
Tickets: 150-180 yuan
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