The Year of Ricardo: Richard III in Argentina

The Year of Ricardo by Angelica Liddell at the Habemus Theatrum,  Theatrum, Pergamino, Argentina, with Pamela Lombari, directed by Raul Nutta, video directed by Fabian Diaz. Performances on  5, 6, 12, 13, 19, 20, 26 and 27 July 2014

Ricardo publicity

Versión española/Spanish version of Rolandelli's review (without my introduction).

Living in York, I have to be careful how I respond to a question like ‘How do English people think of Richard III?’ After all, this city has a museum dedicated to righting the wrongs of the Tudor propaganda that came out of London… Yet, despite Philippa Gregory’s and the BBC’s recent attempts to repackage Richard sympathetically as a smouldering heartthrob, manipulated and maligned, to most he is still the ‘poisonous bunch-back’d toad’ of Shakespeare’s play. My friend, Adriana, who originates from Argentina, had a specific reason to ask such a question: her sister had been cast as Richard in a production of Angelica Liddell’s free appropriation El Aňo de Ricardo (The Year of Richard).  In this monologue, part of Liddell’s ‘trilogía de actos de resistencia contra la muerte’, or  ‘trilogy of acts of resistance against death’ , the Spanish playwright and performer re-imagined him as everything that is dark and twisted within the world. The authenticity of a historical Richard is irrelevant here: it is the symbolism that counts. “We identify with him. Ricardo shows us how democratic mechanisms are used to abuse power, cause suffering, and compensate for personal faults,” said Liddell.  As the prison of Denmark becomes a parallel for any totalitarian regime in global Hamlets, so the figure of Richard can be seen to stand in for any dictator, from Hitler to Saddam Hussein, but also in Liddell’s work the implication is that he stands in for all that is dark and twisted in the self: we too are complicit, perhaps?

(c) Grupo Fratacho

(c) Grupo Fratacho

Striking in the images released by Lombari and the Fratacho Company is the burning of books. Liddell’s play references ‘Nazism and dictatorships current and past. Knowledge has to be burnt and destroyed as it poses a threat to power,’ explains Adriana.  So, did she think that the play related to the Argentinean situation, past or present? ‘It relates to all dictatorships, and in Latin America unfortunately there is a sad and long history of that!’

Currently running at the Habemus Theatrum in Pergamino this theatre isn’t afraid of putting on challenging productions and its lead actor, Pamela Lombari, is no stranger to challenging roles.

This review of the production by Carmen Rolandelli, translated by Adriana Lombari-Bonefeld, gives a flavour of how Shakespeare’s play transforms across time, place and gender.

The Year of Ricardo

Pamela Lombari’s  performance in “The Year of Ricardo” excels. It can be argued that this is her best work but that would detract from the many other important projects that this actress has faced throughout her career. Yet, in this play she has come of age, overcoming her own goals. It is a difficult performance, splitting the action from the word, that Stanislavsky himself considered was so important, when words become alien themselves, displaying the subtext, the cross action of the word. A stark text by Angelica Liddell that is difficult to digest, it is uncomfortable and angry. A ruthless criticism of the social system that goes beyond the disappointments of Liddell, it arrives at a place of absolute disbelief and scepticism, a place that does not give rise to hope.

“Dying is as close to the truth as  we get,” says the author and from that position generates anxiety in the audience, from that place challenges power. Who speaks in the voice of Ricardo? The perverse capitalism, which excludes, which preys, which feeds his more egregious greed? It presents a cynical look at the only tool capable of transforming reality, politics. But is it not, that voice that mocks the ideology and power of the masses, is not speech the right of the last man? And after that, what? The author does not tell us what after that. Or maybe this, its revealed truth, is nothing more than a desperate cry. “Uninterrupted pessimism makes me distrust the human being,” says the Spanish author but also adds that the overwhelming desire to side with the loser appears. This is, in my opinion, a reaffirmation of the political. It would be good to open a discussion with the public, and that is who Liddell questions and challenges.

(c) Grupa Fratacho

(c) Grupa Fratacho

Raul Notta, responsible for an impeccable adaptation of the play, proves once again his ability to translate complex plays into stage language. His work and drive, keeps the spectator in awe from the beginning. Here, I can say that the concept of “spectator” is present because it is impossible not to be swept away by the action. The message confronts us, making it impossible to remain as passive subjects. On the contrary, it is impossible as a subject not to feel thrown to the depth of the swamp, that makes us angry and uneasy. Beautiful and deep is the intervention of Fabian Diaz, with his aesthetics of the margins, the unspoken words and what underlies his images. Could this be the beauty of the unhappiness and the anguish of Liddell? Hence, this is a confrontational text that leads us to the discussion of our own ideas anchored politically and collectively, and shows the excellent level and place of honour that the theatre in our community must occupy . The year of Ricardo achieved this.

By Carmen Rolandelli, translated by Adriana Lombari-Bonefeld

 


Versión española/Spanish version of Rolandelli's review.
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Carmen Rolandelli: ‘El año de Ricardo’, Habemus Theatrum

For English translation and introduction click here

(c) Grupo Fratacho

(c) Grupo Fratacho

‘El año de Ricardo’

Excelente trabajo de Pamela Lombari en “El año de Ricardo”. Podría decir que es su mejor trabajo pero sería como desmerecer tantos proyectos importantes que esta actriz ha encarado a lo largo de su carrera. Pero, indudablemente, en Ricardo ha alcanzado su madurez, la superación de sus propias metas.
Un trabajo arduo, un desdoblamiento desde la acción a la palabra, a la que el propio Stanislavsky daba tanta importancia, cuando las palabras ajenas se convierten en propias, la visualización del subtexto, la acción transversal de la palabra
Un texto descarnado, difícil de digerir, incómodo, rabioso, una crítica impiadosa al sistema que va más allá de la decepción de Liddell , llega al descreimiento absoluto, al escepticismo, que no da lugar a la esperanza. “Morir es lo más cercano a la verdad” dice la autora y de ese lugar genera la angustia, desde ese lugar interpela al Poder. ¿Quién habla en la voz de Ricardo? El capitalismo perverso, el que excluye, el que depreda, el que se retroalimenta con su voracidad más atroz? Una mirada cínica sobre la única herramienta capaz de transformar la realidad, la política. Pero no es acaso, esa voz que burla la ideología y el poder de las masas, la voz se las derechas, del no lugar, del último hombre? ¿Y después de esto, qué? La autora no nos lo dice. O quizás, esta, su verdad revelada, no sea más que un grito desesperado
“Un pesimismo ininterrumpido me hace desconfiar del ser humano” dice la autora pero también agrega que aparece el deseo irrefrenable de ponerse del lado del perdedor y esto es, a mi criterio, una reafirmación de lo político. A ese público que Liddell incomoda sería bueno proponerle el debate.
Impecable dirección de Notta que elige obras complejas y demuestra, una vez más, su capacidad de trabajo y conducción, y una puesta fuerte, que mantiene al espectador en tensión y acá puedo decir que está presente el concepto de “espectactor” porque es imposible evitar ser arrasado . No es un sujeto pasivo quien se enfrente a esta puesta, a la profundidad de esa ciénaga donde parece que caemos permanentemente, que nos enoja y nos confronta.
Profunda y bella la intervención de Fabián Díaz, la estética de los márgenes, de lo no dicho, de lo que subyace. ¿Será esa la belleza de la infelicidad y la angustia de Liddell?
De lo dicho, de un texto confrontativo que nos dispara a la discusión de las ideas, ni más ni menos y a nuestros propios anclajes en lo político y en lo colectivo, se desprende el excelente nivel y el lugar de honor que debe ocupar el teatro en nuestra ciudad. “El año de Ricardo “es prueba fehaciente de esta realidad

Carmen Rolandelli

 

Shakespeare in Ukraine

Daria Moskvitina & Bogdin Korneljuk

Daria Moskvitina & Bogdin Korneljuk

Thank you to Paul Edmonson and Blogging Shakespeare for the update and photo!  

We had great fun dancing and dining with Daria and Bogdan at the 10th Craiova Shakespeare Festival in Romania in May, but just in case anybody thinks that Shakespeare isn’t relevant today, here is their latest dispatch from a part of the world that ‘lives’ Shakespearean scenarios in a way that, thankfully, I do not :

 

‘The Ukrainian Shakespeare Centre express our great appreciation of the wholehearted support for our struggle for democracy expressed by the European scientific community. Shakespeare wrote that expectation usually hits “where hope is coldest; and despair most sits” (All’s Well That Ends Well, 2.1.144) and thanks to your inspiring aid we go on fighting, keeping our hope and creative spirit alive. We feel enormous gratitude to you for all the encouraging emails we have received – your warm words reassure us that even in the hardest times we must (like that line just before the end of King Lear) “speak what we feel, not what we ought to say”. And so, rehashing the words of Sebastian from Twelfth Night “We can no other answer make but thanks, and thanks, and ever thanks” (3.3.14-15).

We also want to remind you that the members of our Centre are eagerly waiting for your applications for the Fourth international conference “Shakespearean code in the global cultural space: Between call and challenge” which will be held in Classic Private University, Zaporizhzhia, Ukraine on 25-27 September, 2014.You can contact us via uashakespeare@gmail.com for more information.

At the moment we are preparing the new issues of our journals “Renessansni studii” (“Renaissance Studies”) and “Shekspirivs’kyi dyskurs” (“Shakespeare discourse”). The journal “Renaissance Studies” deals with the broad range of problems of Renaissance literature, philosophy and culture. The journal “Shakespeare discourse” publishes scientific articles about Shakespeare’s biography and writing, it also casts light upon the issues of reception of the Bard’s legacy (translations, adaptations, parodies, intertextual references, stage versions) and of his influence upon other spheres of intellectual and cultural space (music, painting, education, advertising etc.). If you are interested in the cooperation with us, please, do not hesitate to address the Centre (our e-mail addresses areuashakespeare@gmail.com and renaissance@zhu.edu.ua.

The international conference is the part of the Ukrainian Shakespeare Project 2014 arranged by the Ukrainian Shakespeare Centre. It is the chain of events dedicated to the 450th anniversary of the Bard which will be held in different cities of Ukraine. Working on this project we tried to cover the broadest range of recipients of different ages (school teachers and pupils, students of universities and academies, all other people who are interested in Shakespeare and his writing). Together with the autumn scientific conference the Project includes:

All the year round: The mailout campaign “Shakescribe.ua” for everyone who subscribes to it on the registration page of the project (https://tinyletter.com/Shakescribe_ua). Each week the subscribers get informational e-mails with interesting facts about the wide range of Shakespearean topics (curiosities concerning the Bard’s biography, screen and stage versions of his plays, Shakespeare’s presence in modern art and mass-media). All the e-mail issues are supplied with rich illustration materials; each e-mail also contains web-links to pictures, videos, sites that can make the textual information more vivid.

Spring 2014: The contest among the school-teachers of world literature “Shakespeare Lesson 2014”. The participants send summaries of the world literature lessons which deal with one of Shakespeare’s works. The jury, which includes the members of our Centre and teaching staff from all over Ukraine, choose 5 best lesson-summaries. The teachers that are the authors of these summaries are invited to the best schools of Kyiv to give this lesson to the unfamiliar class of pupils. The best lessons will be filmed and recorded on DVDs which will be spread among the Ukrainian teachers of world literature.

Spring – autumn 2014: The contest of research papers dedicated to the Ukrainian reception of Shakespeare’s works “Shakespeare: the Ukrainian version”. Young scholars – students and post-graduates – can take part in the contest. The papers should deal with the intertextual traces of Shakespeare’s works in Ukrainian literature, with the problems of Ukrainian translations of the Bard’s legacy, theatrical versions of his plays, etc. This event is sponsored by the Ukrainian National Women’s league of America.

Summer 2014: The intellectual quest for students “Shakespeare forever!”. Student teams (each has up to 9 members) which represent different cities of Ukraine come to Lviv and compete for the title of “Shakespeare experts”. They fulfill various tasks – answer questions, make project-work, present the results of it. After the competition all the teams can attend some special events – Shakespeare theatrical master-classes, Shakespeare coffee-break and the round-table seminars with the leading Ukrainian scientists.

We would appreciate your help and your kind advice in implementing the Ukrainian Shakespeare Project 2014. For us it’s very important to know about your experience of arranging such events, you can also share with us information about the events that will be held in your country to commemorate the Shakespeare’s anniversary.

Do drop us a line to uashakespeare@gmail.com

Many thanks!

Bogdan Korneljuk and Daria Moskvitina’

– See more at: http://bloggingshakespeare.com/shakespeare-ukraine#sthash.34dJIqPO.dpuf

Chinese Coriolanus at the Edinburgh Festival: Play out of Context?

Shakespeare’s Coriolanus, directed by Lin Zhaohua, translated by Ying Roucheng and performed by the Beijing People’s Art Theatre (BPAT) at the Edinburgh Playhouse: Edinburgh International Festival, 20-21 August, 2013

Coriolanus (c) BPAT

Coriolanus (c) BPAT

(I was initially gutted to realise that Lin Zhaohua’s Coriolanus, originally performed in Beijing in 2007, was playing at the Edinburgh International Festival this August for ‘two days only’: those two days were the first  after my baby’s due date! We live in England…  ‘It’s only a play,’ I tried to tell myself. Only a play directed by the main subject of my PhD, Chinese experimental theatre director, Lin Zhaohua… But thanks to the extraordinary punctuality and rapidity of delivery of my youngest son (we didn’t have time to get out of the taxi!), and the extraordinary generosity and understanding of my civil partner, I managed to get to see Coriolanus on the Wednesday night, so exhausted and baby-brained that I was relieved that the production was punctuated by the controversial intrusion of heavy metal bands – they certainly kept me awake and paying attention!)

I saw Lin Zhaohua’s remarkable post-Tiananmen Hamlet in 1995, at the Tokyo International Festival. Then, in 2011, I also saw his renderings of Ibsen’s The Master Builder and Chekhov’s Ivanov, as part of the Beijing People’s Art Theatre’s ‘Lin Zhaohua Festival’. All starred his long term collaborator, the veteran actor Pu Cunxin, and all, it appeared to my friend and interpreter, Zhou Yan, and to me, were about lonely men, alienated in someway from the communities around them.

Pu Cunxin as Coriolanus (c) BPAT

Pu Cunxin as Coriolanus (c) BPAT

During our interview with Lin (2011), he told us excitedly that he had just been in discussion with ‘a man from Edinburgh’. But how would Coriolanus fare when transferred to the Scottish stage, my friend wondered? Would Westerners be able to understand him? Reviews of the Edinburgh production have been mixed, as was my own response to it, but whatever my reservations about some of the nuances of this incarnation, it was certainly a brilliant night’s entertainment. Coriolanus, one of Shakespeare’s most political tragedies – variously interpreted as a critique of the abuse of autocratic power or as a warning against the fickleness of the masses – is an interesting choice for a director who repeatedly insists that he is not political, especially if viewed as part of the triptych of his other Shakespeare appropriations, the aforementioned Hamlet, and Richard III. When Lyn Gardner dismissed the production as ‘offering empty spectacle in the place of nuanced political comment and metaphor’, she was rightly upbraided by a young Chinese woman in the comments below: I think having chosen this play is one brave movement itself. As scholars Li Ruru and Alexa (Alex) Huang have explored in relation to Shakespeare in Mainland China, and Dennis Kennedy has explored in relation to political Shakespeare behind the Iron Curtain, sometimes simply the act of putting on a play is the political comment and metaphor. Lin Zhaohua is a complex case because of his longevity and status – in the 1980s he was the founder of modern Chinese theatre experimentalism, along with self-exiled playwright and Nobel laureate Gao Xinjian, a form that in itself was deeply politically subversive in its rejection of socialist realism, and as a result they faced official criticism and some of their work was banned; yet, as a Beijing intellectual through and through he has chosen to stay in the politically conservative capital city of Beijing (he hails from neighbouring Tianjin) and had formerly risen to the position of BPAT’s vice president. For me, what is often most intriguing is how practioners appear to work within the restraints of the system,  yet encode their work with slippery, ambivalent details that to outsiders of that system may seem ‘opaque’ or simply absurd (as opposed to Absurd…).

I have linked to several other reviews so for the rest of this one I will concentrate on what I think were the main areas of cross-cultural tension or misapprehension in the reception of this production, and think about the ways I would try to understand them in a Chinese context.  Please feedback in the comments section below with your insights, and any corrections.  It is also important to note when responding to the professional criticism (cynicism?) of broadsheet reviews that the performance I attended was met with rapturous applause and much excited post-performance chattering, whether from elderly European Sinofiles or young East Asian rock fans...

The first, and most talked about, innovation was Lin Zhaohua’s incorporation of two Beijing bands, one heavy metal, the other more indie rock, into BPAT’s production – used not only as incidental music but, as commentators have put it, as a metaphorical battle of the bands between Coriolanus/the Romans and Aufidius/the Volscians. ‘Heavy Rock Coriolanus Turns Up Volume at  Edinburgh Festival’ shouted the BBC headline.  Andrew Dickson of the Guardian, veteran reviewer of the World Shakespeare Festival and Globe to Globe, loved it, describing it as surprising, gnarly, and as adding ‘volcanic energy’ when the bands Miserable Faith and Suffogated ‘slide in periodically from the wings and punctuate the action with frenzied surges of nu-metal.’ Dominic Cavendish of The Telegraph, in another thoughtful, if not so thoroughly researched, review found it an ‘arresting concept’ evoking  ‘China’s tumultuous embrace of Western influences.’  (Gardner showed her disdain by barely mentioning them.)  Many reviewers returned to this idea of Western influence in the music.  In fact, Brian G Cooper of The Stage complained that in Lin’s Coriolanus, a production transferred from Beijing (unlike the National Theatre of China’s Richard III devised for last year’s Globe to Globe) the ‘uniquely Chinese theatrical influences are conspicuously absent’ throughout. He was perhaps not aware that until very recently Chinese traditional theatre (Beijing Opera etc) and the more recognisable Chinese spoken theatre, originally a western import, have been two distinct traditions – I certainly had no awareness of this until I began researching this area. This got me thinking about the use of music, specifically, the music found in Chinese traditional theatre. These rock bands reminded me of the musicians in Beijing Opera, who often sit onstage, visible to the audience. And while British audiences expect lutes and flutes to accompany Shakespeare, Beijing Opera goes for clashing cymbals (if not thrashing guitars) whenever a General or king enters the scene.  Could this supposedly Western-style production be rather more Chinese then we give it credit for? And Andrew Dickson was onto something with his reference to nu-metal.  Rock music in China has a political heritage.  It’s first post-Cultural Revolution, Open Door Policy rock god, Cui Jian, entertained the students in Tiananmen Square, his ‘Nothing to My Name’ becoming part of the soundtrack to the demonstrations.

Cui Jian (image from the Arts Desk website)

Cui Jian (image from the Arts Desk website)

Which brings me to reflecting on the problems that some had in engaging with the production at all, who felt it was ‘lost in translation’. Andrew Dickson was at an advantage – he had been sent to Beijing to interview the Master Lin.  But he also has another advantage: he does his homework, finding out answers to the things he doesn’t know or doesn’t understand. This couldn’t be said of most of the reviewers on BBC Radio 4’s Saturday Review from the Edinburgh Festival. If I wasn’t writing this blog I would doubtless be whinging about the waste of licence fee payers’ money. Haven’t they heard of Wikipedia???  😉

Tom Sutcliffe described it as ‘a very dull production. Pu Cunxin (Coriolanus) comes to the front of the stage and many of the scenes are blocked geometrically so the characters are all speaking out at us, not addressing the characters that they are actually talking to in those scenes, and it gave it a very rigid, very formal feel which I felt just drained all the excitement out of it.’  I wondered if he had ever heard of this German bloke called Brecht and how he had gone to see this performance by this Chinese bloke called Mei Lanfang, and as a result come up with the V-Effekt…

Pu Cunxin’s ‘a bit RSC,’ continued David Schneider, ‘a bit RSC meaning he loves the costume, he loves the swagger, the swish of the cloak and standing with one leg forward and leaning on it’. Tom took it up: ‘It’s a very old kind of actor manager style. Or it looks that way to us. ‘ Ay, there’s the rub. It looks that way to us. Martin Hoyle in the FT saw ‘rhetorical moments’ which found ‘the individual actor caught in an attitude that fleetingly resembles the pose of a Victorian theatrical print or cut-out character for a toy theatre.’ And those fleeting resemblances were certainly there. But that was not all that was there.  In the swagger, the swish of the cloak, the fixed postures, were echoes of other generals from other traditions. And with contemporary spoken drama directors in China intent on Sinocizing the form, they were perhaps intentional echoes.

Yue Opera General, RSC website (c)

Yue Opera General, RSC website (c)

They were quite right about the crowd scenes, though.  These scenes which must have been so electrifying in Beijing were indeed ‘limp’.  Mostly young, middle class looking girls and boys with shiny hair (although not as shiny as the long locks of Suffocated headbangers) they resembled overseas students rather than democracy protesters or rioting peasants, which it turns out was exactly what they were. With one hour’s training and one rehearsal, these locally recruited extras were actually pretty good in the circumstances, if not very menacing (see linlin_peony’s response to Gardner’s review for further details.)  This is perhaps the main reason that Tom Sutcliffe and Gardner, coming from a culture where we expect our political theatre to look like and market itself like the Belarus Free Theatre,  struggled to see the politics.  Sutcliffe introduced his BBC review with ‘the production seems to studiously avoid any allusion to popular discontent in China or any direct suggestion that a notionally socialist country might have its own patrician class’. What if he had read about the original production in Beijing? In his interview with me in 2011 Lin had said, ‘In Coriolanus, I cast real min gong [migrant farm labourers] to express my ideas about society – it was my way to express who are the real heroes.’ My interpreter suggested that New China is built with their hands, although older Chinese, such as William Sun Huizhu, writing in the programme, notes that ‘My guess is that the translator Ying Ruocheng and the director Lin Zhaohua’s shared interest in this play, about a leader devoured by the masses he arrogantly believes he is leading, could be attributed to their experience in China’s Cultural Revolution.’ On Saturday Review only David Schneider got it: ‘There was for me a frisson about the politics though – there was that scene where they do discuss whether the herd, the populace, should have any rights at all and I think that if you do contextualise a Chinese director putting on Coriolanus and letting it speak for itself, for me there was a glow in those scenes.’

Which raises the question, is the problem (if there is a problem) with the production, the place of performance or the unpreparedness of the audience?

Does a play lose meaning out of its context? And should we judge it as a failure if we don’t understand it, like Sutcliffe and Gardner, or is it an opportunity to learn, and learn to appreciate a little more about what theatre is, as did so many other reviewers and spectators?

On another note, I was relieved to discover that Lin Zhaohua was no more forthcoming on the issue of politics with either Andrew Dickson or Mark Fisher of The Scotsman than he had been with me…

(You can read more on metal in China on MTV Iggy here Lin Zhaohua’s Coriolanus: Heavy Metal Shakespeare in China)

Shakespeare and Myth: ESRA Conference, Montpellier 2013

ESRA, Montpellier, 2013

As a colleague put it: ‘four days of sun, sea and Shakespeare’ in the beautiful South of France city of Montpellier. I’m discussing my paper ‘Denmark’s a Prison: Appropriating Modern Myths of Hamlet after 1989′ on Friday in the Shakespeare and Global Myths seminar convened by Alex Huang and Aneta Mancewicz, but today I’m off for a stroll around Domaine d’O, where there will be an opening reception in the grounds of the 18th Century house, home to the Printemps des Comediens Festival.

Sun, sea and Shakespeare with Alexandra Portmann

Sun, sea and Shakespeare with Alexandra Portman

Most exciting for me today is Jerzy Limon’s plenary on ‘Jan Klata’s H.[amlet] and the Myth of Solidarity’ and an out of doors production of Richard II by the Berliner Ensemble, the company founded by Brecht. I think I’ve died and gone to heaven…. Information on the European Shakespeare Research Association and the conference can be found here: http://www.um.es/shakespeare/esra/conferences/montpellier.php

Berliner Ensemble do Richard II under the stars

Berliner Ensemble do Richard II under the stars

And see if you can spot the baby Shakespeare masquerading as the Messiah…

Michael Dobson's talk, of course...

Michael Dobson’s talk, of course…

Performing China on the Global Stage: Confirmation of Speakers

University of Leeds students perform 'The Sun is Not for Us', China 2012

University of Leeds students perform ‘The Sun is Not for Us’, China 2012

Following the previous post about the March Symposium to be held at stage@leeds (details below) on 26 & 27 March, the organisors are pleased to confirm the attendance of several significant theatre professionals to give talks, including:

* Gregory Doran from the RSC,

* Tian Qinxin from the National Theatre of China,

* Davey Anderson from the National Theatre of Scotland,

* Guan Bo from the National Centre for Performing Arts, China

* Zhang Ping from the Henan Yuju Theatre.

On top of this, there will also be an exhibition of 10 different productions of ‘The Orphan of Zhao’. The productions cover different genres of Chinese spoken drama, four local operas, Western style opera, English and Korean. There will also be two workshops on the 27th led by the Royal Shakespeare Company and the National Theatre of China. Spaces for these are limited so book your place now!! (Details attached) ‘Stage@leeds’ is the performance building situated at the University of Leeds (Woodhouse Lane, Leeds, LS2 9JT). There will be signposts on the day to guide you to the venue. Please note: It is advisable to book your tickets in advance. The event is bilingual (Chinese and English), subtitled or interpreted live by our MA Translation students.

For any further information please don’t hesitate to contact:

Milly Dent Symposium Management Intern pc10ed@leeds.ac.uk  

Elliot Pannaman Symposium Management Intern jl10ejap@leeds.ac.uk

An International Symposium: Performing China on the Global Stage, 26 and 27 March, 2013, University of Leeds

University of Leeds students perform 'The Sun is Not for Us', China 2012

University of Leeds students perform ‘The Sun is Not for Us’, China 2012

For anyone interested in Chinese theatre, including the controversial The Orphan of Zhao at the RSC, check out this two day symposium at the University of Leeds organised by Dr Li Ruru. It promises to be a stimulating and fun. The second half of my Orphan review is still pending…. Watch this space… Read the first part here.

Performing China on the Global Stage: People, Society and Culture
寰球舞台演出中国:人、社会与文化
An International Symposium 26 & 27 March 2013
University of Leeds

‘Performing China on the Global Stage’, a practice –led research network with its hub in Leeds, announces a two-day international symposium on 26 and 27 March 2013.
The symposium will include both conventional research seminars and public events of workshops and interactive presentations. Scholars and practitioners attending the symposium are from mainland China, Hong Kong, Taiwan, Japan, Australia, North America, the UK and other European countries.

SCHEDULE
26 March 2013

Session 1 9.00-13.00 including refreshment break
Discussion among contributors of the proposed book (Chinese) led by Professor Hu Zhiyi (Zhejiang University): Chinese Image: An intercultural Study of ‘The Orphan of Zhao’.

Session 2(parallel to session three) 14.00-18.00 including refreshment break
Discussion among the contributors of the edited book (English) led by Dr. Li Ruru (University of Leeds): Spoken Drama Productions in the Millennium: Theatrical Encounter with Politics, Society and Culture.

Session 3 (parallel to session two) 14.00-16.00
Much Ado About Nothing – a workshop led by Zoë Waterman, Assistant Director from the Royal Shakespeare Company UK. (Maximum participants 30). An exciting opportunity to explore this Shakespearian comedy, using classical British rehearsal room techniques to get inside character, language and storyline.

Session 4 17.00-19.00
Energy: Essence of Chinese Theatre – a workshop led by Director Tian Qinxin from the National Theatre Company of China. (Maximum participants 20). Focusing on eyes and the physicality of human beings, the workshop explores the function of energy in creativity and in reactions between performers in the Chinese style.

27 March 2013
Session 1 (parallel to session two) 9.00-10.00
Closed meeting of contributors for edited book (Chinese) to agree on the extension of the detailed outlines into chapters, and time line.

Session 2 (parallel to session one) 9.00-10.00
Closed meeting of contributors for edited book (English) to agree on the extension of the detailed outlines into chapters, and time line.

10-10.30 refreshment break

Session 3 10.30-12:00
Open panel for network partners to discuss how to take forward the project currently called Performing China on the Global Stage, including the electronic stage production repository, PG network, future live performances.

Session 4 13.00-18.00 (open to general public including refreshments)
Staging China, an interactive presentation by theatre professionals and researchers.
Part one: The Orphan of Zhao: from 5BC China to 21st century Stratford-upon-Avon
Stage productions of The Orphan include a wide range of forms: Chinese spoken drama, Chinese regional opera, Chinese Western-style opera, and the current English production by the Royal Shakespeare Company. These works will offer evidence and study cases for the examination of intra/inter/cross-culturalism, challenging the existing models and methodologies.
Part two: Contemporary Western Representations of China
Productions by the West Yorkshire Playhouse, University of Leeds, Border Crossings, University of Hawai’i at Manoa, National Theatre of Scotland and of the play Chinglish will be presented and discussed.

An exhibition of images and video in the venue foyer will provide a virtual theatre experience via over a dozen stage productions.

Supported by:

Cultural & Creative Industries Exchange, University of Leeds

……………………………………………………………………………………………………………………………………

Booking Form: Workshops on 26 March (no fee)
Email: s.m.daniels@leeds.ac.uk
YOUR NAME
TELEPHONE NUMBER
Would like to attend
2-4pm Workshop 1 (RSC) 5-7pm Workshop 2 (NTCC)
Please wear comfortable clothing and soft-soled shoes for the workshops.
Places are limited and need to be booked in advance.

Book Form: Open Sessions 27 March
Email: stage@leeds.ac.uk or telephone: 0113 343 8730
YOUR NAME
TELEPHONE NUMBER
Would like to attend the Open Sessions from 10.30 at a cost of £12 (£6 Concessions) including lunch.