BEYOND THE GATES
About Li Xiaoping
BEYOND THE GATES
words for expression of emotions and the creation of artistic ambiance . Traditional Chinese opera can be seen as a performative art derived from such expressive and freestyle aestheticism . Chinese art forms , from the movements of water sleeves in traditional opera , the unprohibited instantaneous transitions between different time and space and background settings , to classical paintings , sculpture and calligraphy , all serve to cement such asthetic preferences . In other words , we prefer the overall creation of ambiance and freestyle narration to strict plotlines and scenarios .
History shows that classical aestheticism in China has always enjoyed freestyle creation to its highest potential . Western theatre has
About Li Xiaoping
Knowing that he was devoted to Chinese opera since the age of nine , gives you an almost monk-like view of Director Li Xiaoping . Yes , you could envision him as one of the highpriests of this ancient art form , which is now as close to him as his own shadow . Trained as a wusheng ( martial role ) in Peking Opera till the end of his teenage years , followed by a Masters degree in Directing from the Taipei National University has armed Director Li with both the traditional and the modern perspectives of opera . “ I started to revisit my “ second nature ” that formed through years of training , only to find out that by adopting a new perspective I could see all things familiar in a new light – subtle yet surprising ,” said Director Li , adding , “ I began to think that the use of modern theatrical context is not to intentionally distinguish between Chinese and Western culture , but it is a common narrative space , something I like to call the commonality of theatres .” This operatic genius started his career with the Guoguang Opera Company . He has breathed new life into an ancient art form , created fresh new works , using Chinese opera ’ s rich traditional legacy in exciting and innovative ways .
64 THE KEYSTONE MAGAZINE also always allowed creativity , as long as it is based on narrative expressions in a theatrical setting . I grew to realize that , while Western theories constructed my perspectives and notions , it has always been classical Chinese aesthetics that gave my characters flesh and blood . By combining the two , I strive to bring tradition to the present without diluting its orginal essence and charm . And the modernity in my works is not expressed in its formality , but in its emotional connection with the modern audience . In my opinion , the tradition of Chinese opera is not static ; it undergoes ongoing evolution and accuarcy .
Even the audience recognizes the ongoing artistic pursuit . This is clear in the 600 years of Kun Qu history ; it was not only a form of entertainment . However , at times there have been developments that have more entertainment than artistic value . For instance , few Kun Qu plays that were created based on specially-created characters , such as the xiaosheng ( young male ), xiaodan ( young female ), and xiaochou ( clown ) are indicative of the commercial development of the traditional art form . Globally speaking , the Noh Theatre in Japan and opera in the West are also witnessing developments that are more specific towards the needs of the market . So evolution is inevitable , despite the 600 years of history of Kun Qu , or 200 years of Peking opera . It is perhape naïve to think that traditional art forms will remain in their nascent forms .
Q : What is the role of tradition in Chinese Opera ? As a director , what is your approach to it ? A : As a director , I feel it is my responsibility to ensure that the audience can recognize tradition , even if they see it through modern eyes . In the creative process , I always make sure that my choice of content and all sources of creativity stay absolutely focused on stage . Any content that does not add to the flavor of acting , or is not based on traditions is discarded .
In my experience , works of opera have their own set models and traditions . Arguably , it is more difficult to create and innovate within set conventions than in those without . At times , directors use tradition as artistic elements or linguistic symbols to aid their own perspectives . But , having been trained as a Peking opera performer , I know all too well how long it takes for a performer to internalize traditional training and how much that effort deserves to be cherished and recognized .
Take the Butterfly Lovers for example . I could have used the story as a medium and context , and veiled the stage with a lot of translucent screens and layers as a way to distance dream from reality ; performers will be surrounded by dancing butterflies , chasing their dreams and one another . This extravaganza for the eyes might meet the needs and expectations of the audience , but at the cost of reducing the performers to insignificant and faint background . Here the focus is on the director ’ s notions rather than the acting itself . This is not a director ’ s role .
I feel I have fulfilled a director ’ s responsibility in the new Kun Qu version of the Butterfly Lovers by focusing both on the flavor of acting and tradition . For instance , the act that seemed to move audiences the most is the one where Liang Shanbo and Zhu Yingtai ( main characters ) marry in a dream . In this scene , specially created to underpin the entire storyline , the performers and their choreography are the only elements that demand attention . When he places his hands on her bridal veil , so delicately as if not to disturb the dream , it moves the audience to tears . It is such simplicity that is both artful and traditional that can trigger a common resonance among the audience , perhaps rooted in their own stories and emotional experiences .
Q : Moving closer home – one of the three keystones that underpin our school is the Chinese Thread . We strive to inspire local students to identify with , and find pride in their rich cultural heritage , and encourage international students to gain a deeper understanding of their host country . You have been devoted to encouraging young people to get to know traditional Chinese Opera . In your point of view , what is the significance of traditional culture , and how does it impact the development of students today ? A : From the cultural salon on Kun Qu that we conducted at Keystone , I was encouraged to realize once again traditions are alive , and people , including students , want to learn about them . I have high expectations of the students at Keystone , because the tradition and heritage will be carried on through them and generate new life and blood . My emphasis lies in defusing the misunderstandings of tradition among young people .
Chinese aestheticsm remains quite intangible . We have lost a lot of our tradition in recent