PRODUCTION The Tempest [Baofengyu]
Data Type：news
Author：Chen, Vivian
Title：The Tempest
Source：South China Morning Post
Place：Hong Kong
Date：2008/10/23
Language：English
Abstract：The Tempest reflects Taiwan's political climate and combines various elements of traditional theatre and cinema.
Kwai Tsing Theatre
Tomorrow-Sat, 7.45pm
Wu Hsing-kuo, a veteran performer and pioneer of innovative Taiwanese opera, says fusing traditional Chinese opera with western dramas is the best way to preserve one of the most exquisite Chinese arts.
'I fuse the Chinese history and aesthetics when adapting Shakespearean drama,' says Wu. 'The combination makes it easier for Chinese audiences to associate with the production.
'It's also the best way to introduce traditional Chinese opera as everyone knows about Shakespeare,' he says.
As a highlight of this year's New Vision Arts Festival, Wu and his Contemporary Legend Theatre will stage The Tempest, directed by Tsui Hark, the Hong Kong filmmaker known for his eccentric style of blending mystery and fantasy.
Shakespeare's last play, The Tempest is considered one of his finest works: Prospero, rightful King of Gianan, and his daughter, Miranda, have been stranded for many years on an island after Prospero's jealous brother, Antonio, deposes him. Prospero - with the help of the sprite, Ariel, and the witch's son, Caliban - gains revenge by raising a storm that causes his enemies to be shipwrecked on the island.
'We employed three different musical genres in The Tempest - Beijing opera representing the civilised people from the Gianan Kingdom, Kunqu opera, representing the sprite Ariel, and indigenous tribal music from Taiwan for Caliban, the only non-spiritual inhabitant on the island,' Wu says.
When it premiered in Taipei four years ago, the production was a reflection on Taiwan's political climate, Wu says.
'Conflicts between different power groups and indigenous people - Shakespeare's concept of a desert island - it's very similar to what we have in Taiwan. Shakespeare already had so much to say about politics and society, and yet it was written more than 400 years ago.'
Audiences expecting to see a hi-tech fantasy may be disappointed, but first-class performances make this an enjoyable production.
'If audience's want to see special effects they can go to the cinema,' says Wu. 'It's more of a challenge to create an abstract fantasy on stage.'
Wu founded the Contemporary Legend Theatre of Taiwan 22 years ago.
Since their first play, The Kingdom of Desire, adapted from Shakespeare's tragedy, Macbeth, their repertoire has included adaptations of Greek tragedies and works by Samuel Beckett.
No matter how contemporary or westernised his dramas may appear, Wu says the core of his performances is always traditionally Chinese. He says it's a basic foundation in his work that he would never compromise.
Wu says the whole troupe received training on aspects of traditional Chinese opera, including singing, reciting lines and acrobatic fighting. He is not worried about losing older theatre-goers - he has his eye on a younger audience.
'There are fewer older people going to the theatre now, but as people still love traditional Chinese opera, there's not much we need to change,' Wu says.
For the first time, the Contemporary Legend Theatre is planning to stage a completely traditional Chinese opera next year.
'The younger actors in our troupe feel more comfortable with innovative Chinese opera, so it will be a real challenge for them to take part in a really traditional production,' he says.
12 Hing Ning Rd, Kwai Chung, $120-$360 Urbtix. Inquiries: 2371 4171
Tomorrow-Sat, 7.45pm
Wu Hsing-kuo, a veteran performer and pioneer of innovative Taiwanese opera, says fusing traditional Chinese opera with western dramas is the best way to preserve one of the most exquisite Chinese arts.
'I fuse the Chinese history and aesthetics when adapting Shakespearean drama,' says Wu. 'The combination makes it easier for Chinese audiences to associate with the production.
'It's also the best way to introduce traditional Chinese opera as everyone knows about Shakespeare,' he says.
As a highlight of this year's New Vision Arts Festival, Wu and his Contemporary Legend Theatre will stage The Tempest, directed by Tsui Hark, the Hong Kong filmmaker known for his eccentric style of blending mystery and fantasy.
Shakespeare's last play, The Tempest is considered one of his finest works: Prospero, rightful King of Gianan, and his daughter, Miranda, have been stranded for many years on an island after Prospero's jealous brother, Antonio, deposes him. Prospero - with the help of the sprite, Ariel, and the witch's son, Caliban - gains revenge by raising a storm that causes his enemies to be shipwrecked on the island.
'We employed three different musical genres in The Tempest - Beijing opera representing the civilised people from the Gianan Kingdom, Kunqu opera, representing the sprite Ariel, and indigenous tribal music from Taiwan for Caliban, the only non-spiritual inhabitant on the island,' Wu says.
When it premiered in Taipei four years ago, the production was a reflection on Taiwan's political climate, Wu says.
'Conflicts between different power groups and indigenous people - Shakespeare's concept of a desert island - it's very similar to what we have in Taiwan. Shakespeare already had so much to say about politics and society, and yet it was written more than 400 years ago.'
Audiences expecting to see a hi-tech fantasy may be disappointed, but first-class performances make this an enjoyable production.
'If audience's want to see special effects they can go to the cinema,' says Wu. 'It's more of a challenge to create an abstract fantasy on stage.'
Wu founded the Contemporary Legend Theatre of Taiwan 22 years ago.
Since their first play, The Kingdom of Desire, adapted from Shakespeare's tragedy, Macbeth, their repertoire has included adaptations of Greek tragedies and works by Samuel Beckett.
No matter how contemporary or westernised his dramas may appear, Wu says the core of his performances is always traditionally Chinese. He says it's a basic foundation in his work that he would never compromise.
Wu says the whole troupe received training on aspects of traditional Chinese opera, including singing, reciting lines and acrobatic fighting. He is not worried about losing older theatre-goers - he has his eye on a younger audience.
'There are fewer older people going to the theatre now, but as people still love traditional Chinese opera, there's not much we need to change,' Wu says.
For the first time, the Contemporary Legend Theatre is planning to stage a completely traditional Chinese opera next year.
'The younger actors in our troupe feel more comfortable with innovative Chinese opera, so it will be a real challenge for them to take part in a really traditional production,' he says.
12 Hing Ning Rd, Kwai Chung, $120-$360 Urbtix. Inquiries: 2371 4171
