Zhang San borrows bootsis a classic comedy of Jiangxi Opera which is listed in the national-level intangible cultural heritage. Zhang San who is an arrogant character in Zhang San borrows boots intends to borrow a pair of boots from Liu Er, known as a miser, in order to look more decent in a banquet. Although Liu has used various excuses to refuse Zhang, he finally compromised and lent his boots to Zhang after experiencing Zhangs hard and soft tactics. Their totally opposite and exaggerated personalities make the process full of humor. When a classic comedy of traditional opera comes across contemporary script interpretation, when the form of traditional opera mixes the approach of character shaping in modern drama, when Yiyangqiang which is one of the four operatic tunes combines with live band of modern instruments, what will happen?
The concept of steamed corn-bread is abstract,unless we are very hungry, no one would like to describe the steamed corn-bread by using their knowledge of money and desire for life. Thus, we can say,the steamed corn bread itself represents extreme.There lived a few homes who struggle to live at the bottom of society in a small quadrangle dwellings named " the steamed corn-bread guild hall " . Someone love money as life,someone are too sharped tongue, someone are narrow-minded. In the courtyard, there have two women always quarrel. One was a chef s wife who used to prostitute secretly and one was an osteopaths wife named Jin Murong who used to be an early Qing dynasty princess eloped to here with her husband. One woman embraced Christ, another woman embraced Buddhism . Although the two women had different values , they had a same destiny finally.....In the pre-dawn darkness, The nobody is hard to live, have more courage to face life,bad guys deceive and . But the struggle and hardness of life and humidity s .
A smooth collision between popular music and opera was adapted from "The Story of Liaozhai-Laoshan Taoist". Based on the principle of opera borrowing, it integrates contemporary music, replaces "singing, reading", and replaces new programs created by contemporary body methods. "Do, Hit ". One person, one song, one scene, one scene. A contemporary quest for immortality began.There are many reasons for the selection of the Taoist priests of Lushan. The most important point in the script is its main idea: "You cant get it without hard work."According to the analysis of characters and the inspiration of classic movies, the concept of unicorns was obtained, and in the characteristics of their lyrics and lines, interesting passages that can be used as accompaniment BEAT were sampled.
Fluorescent stick dance originated from WOTA art, and has developed from the act of responding to help to develop into a unique art form with ornamental. Fluorescent rod dance performance, more choice of contemporary pop songs, with the melody of the song, lyrics using fluorescent rod performance, is a different from traditional dance, a special form of performance, innovative, ornamental. The dance performance of the fluorescent stick dance is very hot and inspiring. Smooth movements, the performance process at the same time pay attention to teamwork, a good display of the positive and youthful spirit of contemporary youth.
LION DANCE – Performing Traditional Dance in a Modern WayFrom martial arts to dance, a new perspective to contemporary dance Traditional lion dance incorporates such elements of Chinese culture as kung fu, feng shui formations, acting masks, traditional costumes, dance and drama. From a modern perspective, lion dance, which appeared earlier than the concept of contemporary art, is definitely its prototype.LION DANCE marries traditional skills with contemporary dance concepts, redefining and paying tribute to the lion dance culture in a form of public art. This also reflects the elasticity of combining contemporary dance and art with traditional skills, in line with the trend of international contemporary art.The cross-disciplinary team work their magic on new, unique elements that evolved from traditional folk art, creating a contemporary Hong Kong-style lion dance that is an exciting martial arts-dance crossover:◆ They use the techniques of personification and objectification typical of lion dance to add a contemporary touch to the characters. Young choreographers, lion dance performers and tricking athletes demonstrate difficult stunts, such as human pyramid and plum blossom piles. The theatrical setting effectively shows the essence of traditional lion dance moves. ◆ The gong-and-drum sequences of traditional Chinese music and lion dance are rearranged in a contemporary way, with the addition of electronica, interactive audio-visual installation and live music. Together they bring audiences into a reimagination of lion dance and lion dance theatre from a contemporary perspective, taking them on an oscillation between traditional and experimental music.◆ The southern-style Chinese lion dance, which showcases colourful and fierce appearances, takes reference from masks of Cantonese Opera. The dance is led by a ‘Big-headed Buddhawith a fan in hand who performs interesting and surprising feats. The site-specific choreography of lion dance fully utilises the space surrounding the audience, enthralling them with lion dance moves such as preparing for action, emergence from the cave, cross the mountains, pluck the greens, jump on piles and hike up the terrace. Contemporary choreography and performing skills bring lion dance theatre into the modern context, blurring the boundary between the traditional and the contemporary, and broadening the imagination of lion dance culture.
The last king of Shu Liu Shan has been called a lame duck for thousands of years for the allusion of Indulge in pleasure and forget home and duty. This famous perished king was on the throne for more than 40 years and even more remarkable, Liu Shan was the only perished king in the long history of China who received a peaceful end, called Duke of An Le.When Zhuge Zhan and his son rushed to Mianzhu to fight to the death with more than 70 thousand soldiers, Liu Shan was still in Chengdu. What was he thinking? And what was he doing? At this critical moment of survival of the country, how would he face his father, ministers, people and families?
"Their musicianship is exemplary, from the tastily acoustic to the percussive and inventive, this is a real balm for the soul stuff; and theyve got the kind of vocalist who really knows how to hold your attention, too. Bravo" - The Crack Magazine. Dansi bring the live show that has dominated British music festivals and venues for the last year to Shanghai. Performing all original songs penned by the band this is set to be a very special Chinese debut concert for Dansi.
The journey is like a journey of life. We climb a mountain but we see another mountain in the distance. We go on and repeat infinitely. We looked forward and saw an endless distance.
Shanghai Theater Academy Musical Center was founded in 2012 by Prof. Wang Luoyong, a famous Chinese performing artist, reputed as First Chinese Personality in Broadway, an expert of One Thousand Talent Program in China, Shanghai "Oriental Scholar" and professor of drama teaching at the University of Wisconsin-milwaukee, the USA.The major of(Musical)Musical Center Performances(Musical)follows the teaching concept of "promoting skills by famous dramas " and "Learning from doing, uses classic Broadway musicals and famous Chinese and foreign dramas as the main teaching materials, and integrates research, teaching and production with an aim to cultivate people to be both morally and technically sound modern musical talents.Currently, there are totally 114 undergraduates, including graduated students enrolled in 2012, and the at-school students enrolled in 2014, 2015, 2016 and 2017. In addition,there are two graduated MFA students and two graduating MFA students. The classic Broadway dramas used currently for teaching and performance include Miss Saigon, Rent, Chicago, Guys and Dolls, Sweeney Todd, Modern Millie, Spring Awakening, Touch, Picture Day, Grand Hotel, I Do, I Do, West Side Story, 42nd Street, and Hair.
Everyone is separated from each other by barriers. Indifference and loneliness slowly become our cells. They reproduce in our bodies.In modern society, people are buried with instability, closed despair, isolated communication barriers, people and caged animals. Therefore, time is just a symbol, a symbol that is fading away. In the noisy, complicated and crazy modern cities, people squirm like a colony of worker ants every hour of the day.The pursuit of material is also eroded by material and eventually alienated by matter.《Lost Time Turning Around》This is the story of a park bench, a ridiculous bloody struggle to monopolize the bench.A person who wants to use suicide to save others, and another person who kills himself because he hates himself.The monologue monologue, the loneliness of existence, the morbid absurdity, and the ridiculous weep... On the grassland, fencing off spectators and actors in the zoo is a better way to convey the sharp drama of "survival pain".《Lost Time Turning Around》This is an absurd drama, the story contains a lot of metaphors, it can let us look directly at the pain, worthy of careful taste. It is hoped that the audience can think through it of the precious lost in the survival of modern people, not afraid of the truth of life, let time turn.
"Qi", as an experimental dance drama, is made up of artists from the Act and Dance majors, presenting the external of "Qi" and the spirit of "Qi"; and using the core technology of the BODY ARCHITECT training method: the micro body 25 moving points to develop the body, form body language cipher, body building space, and Space forms dialogue and interaction.What is the body? What is the essence of dance? What is the language of the future? This has always been the source of my creative enthusiasm and the chance of every step. As a dancer, an artist, the relationship between the body and the spirit, I have been concerned and actively practice the theme in recent years. What is the meaning of our choice to be "human"? What is the composition and possibility of "man"? And so on, these thoughts inspire me to start the imagination, conception and creation of this work, try to find a spontaneous internal structure of the interaction between the body and the space, and we will start from the unknown improvisation, establish or find order from it.
The leading creator attempts to focus on the average age of 70 years old who living in the remote areas and having been engaged in the primary industry for a long time. They think those people also have the right to express art. Those old people use their nearly a century of world cognition and the most primitive impulses to paint. They record their life, painting state, and the changes after painting, and then display these "virgins" and video materials to show their different life and artistic practice status. This is the first one of their works, and perhaps their last one. Chen FenghuaIn 2008, he was admitted to the Shanghai Theatre Academy and studied under the famous lighting designer Professor Tianfu, Yi. Graduated in 2012 and in the same year, he took the postgraduate of stage design major in Shanghai Theatre Academy and studied under the famous stage design professor Lvwei, Wang. In 2013, he went to study at the Odin Theatre in Denmark. He has participated in the 2014 International Art Biennale. The stage design works Anna in the Tropics and Henry V - Bataille dAzincourt were selected for the China Ten Years Dance Exhibition. At the same time Anna in the Tropics won the Shanghai Stage Art Society Award. He once worked as a lighting designer in the lighting and beauty department of Zhejiang TV Station and the lighting supervisor of the famous immersive drama Sleep No More in Shanghai version.
Music theatre Overlord is inspired by two traditional Chinese music masterpieces for instrument Pipa - Ambush on All Sides and King Doffs His Armor. Based on historical facts, Overlord portrays Chinese warlord Xiang Yu with music scores, exploring his inner world via different chapters. Unlike other film and traditional Chinese opera adaptations, Overlord does not focus on retelling the story but tries to walk into the overlords utter innocence despite ups and downs; his emotions sympathized by the human kind regardless of cultural background or time. Yu BingYu Bing is a young Pipa player of Shanghai Chinese Orchestra. He is the founder and art director of Yue Zhi Yuan Orchestra as well. Yu Bing was born in a family of musicians, and started to learn Pipa at six years old. Yu Bing attended elementary school and secondary school that are attached to Shanghai Conservatory of Music; he later graduated from the same university. In 1998, he was admitted to Shanghai Chinese Orchestra and became the first Pipa player in that year. Yu Bing has a solid foundation in skills; his performance is powerfully emotional, and his personal style is very appealing. For this reason, Yu Bing won the highest award for outstanding performance in "Shanghai Spring International Music Festival", second prize of "Tianhua Cup" National Youth Pipa competition, Gold Record of 2015 in Japan and so on. In the following years, Yu Bing has been bold in trying cross-border cooperation and promoting Pipa playing and Chinese traditional cultures. Yu Bing has cooperated with Shanghai Symphony Orchestra, Shanghai Opera House, Liza Wang, Ye Xiaogang, and Zahiram Dodo, etc. Yu Bing has been invited to participate in New Year Concert at Vienna Golden Hall, Prague Spring Festival, French tour of Shanghai World Expo leadership team, Les Années Chine-France, Aichi World Expo, Latin America Music Festival, 10th anniversary celebration of Hong Kongs return and 5th anniversary Macaos return. He has performed all over the world.
YIN5 prompts a contemporary conversation between the refined traditional music and a new spirit. The collaboration between electronic music and the traditional Chinese flute, in addition to the stage design under the assistance of new media visual technology, is to create a brand-new acoustic experience and to reflect the perception of the contemporary generation. The humanistic expression of the Chinese flute dubs the string section. A novel visual and acoustic performing experience for the performers and the reception of the audience are thus generated under the electronic synthesized sound. The on-site matrix of mirrors are arranged to refer to the wooden stage floor from the ancient times. They are in a way turned into the remains coming from the Other World. They are ready to be awakened anytime. The variety of mirrors simulates the cracks of the time and space. As the flue changes, the mirrors begin to twist between reality and the virtuality in form of color and motion graphics, resembling the scattered memories. All the elements are waken up with the organic tunes. The door of the Other World has opened. The matrix of the Nature has also arrived as it is called upon. YIN5 is an experimental site. It is also a platform where the dreamers with shared ambitions (YIN 5 Ren) exploring the emotional status of the current generation as well as the possibility of artistic expressions. YIN5In the winter of 2011, the "Yinwu" project emerged out of the shared ambition of several musicians and artists to explore a new form of Chinese music. Their interest lay in defining an approach to contemporary music that would maintain a distinctive oriental taste. The concept was simple; with the notion of creating a laboratory-style platform, this group of like-minded people came together with the aim of synthesizing Chinese flute and electronic music, and achieving something new and original. In Mandarin Chinese, "Yin" refers to one of the themes in music, equivalent to a prelude. "Wu" is understood here as a transliteration for the number five, which also refers to the five notes used in ancient Chinese music. "Yinwu" is thus a means of injecting new life into ancient music, of endowing it with a new spirit by bringing it into dialogue with the contemporary context. The meeting of electronic music and Chinese flute on stage is given a visual value through the use of moving image sequences that complete the auditory experience. "Yinwu" is a dynamic experiment with sound and vision.
A Hunger Artist adapted from the German novelist Kafkas short story Der Hungerknstler is a project of the genre contemporary new music theatre. A Hunger Artist divides the original novel into five scenes. It depicts "hunger art", which was very popular in Europe at the beginning of the 20th century, from the perspective of starry hunger artist. The artist is sitting in a cage exhibiting his art by proving in public how long he can stay without food for some weeks – showing his capability to resist hunger. The cast of A Hunger Artist consists of a theatre actor and an ensemble for flute, cello, Saxophone, percussion and piano. The musicians also take part in the performance process exhibiting at the same time both their role as actors and musicians. Compared to musical theatre and opera in contemporary new music theatre initiated by German-Argentin composer Mauricio Kagel musicians become also some kind of actor during the performance of a piece. In addition, music functions not only as expression or for creating an atmosphere it becomes also "theatre". Therefore, the composer is not only in charge of the works sound part but also for the script and stage effects. Another feature of this new music theatre piece is its multimediality. Multimediality is achieved by combining real-time instrumental performance and theatre performance as well as preset and real-time video to scaffold and extend the audiences three-dimensional stage mood to a multi-level sense experience. Song YangSong Yang (1985 - ), doctoral student of composition in Central Conservatory of Music in Beijing, study with Prof. Guoping Jia.; student of Konzertexamen at the the Kölner Hochschule fr Musik und Tanz in the class of Prof. Johannes Schöllhorn; PhD candidate of systematic musicology at University of Cologne with supervisor Univ.-Prof. Dr. Uwe Seifert. She was awarded the Scholarship from the China Scholarship Council (CSC) in 2015 and Fu Chengxian Memorial Scholarship in 2016. She got the Commission of the Young Artist Project from China Art Foundation in 2015, and the commission from the American Juilliard School Focus Festival in 2017; she got the 3rd prize of 2017 Vareler Kompositionspreis in Germany, 1st prize of 2015 Singapore Ding Yi Music Companys (DYMC) Composition Prize, 1st prize of The 2nd Voice of China Composition Competition and so on. In the year of 2015, she got the commission of one orchestration piece by the Young Creative Artist Funded Project from China National Art Foundation. Her pieces including Orchestration, chamber music, electronic music, dance drama and so on, were performed in 2017 Kammermusiktage am Vareler Hafen, 2017 KISD parcours Cologne, 2016 New Music Week of Shanghai Conservatory of Music, the Ferneyhoughs composition workshop of 2016 Darmstadt 48th Internationale Ferienkurse fr neue Musik, 2015 Beijing Modern Music Festival and so on, used to work with Berlin Kairos-Quartett, Con Tempo Ensemble Beijing, Israel Contemporary Players, Holland Nieuw Ensemble.
In our fickle time where impulse is given free reign, individuals are in a constant state of anxiety, obsessed by both loss and gain. Learning how to find ones position in a rapidly moving society and reconcile oneself with surroundings has become a necessity. The inspiration from the choreography of this performance is the concept of stillness from Eastern Aesthetics. Stillness is a delicate state of balance. The surface may appear placid, but a violent confrontation is taking place underneath. Beyond the Stillness is composed of three pieces Solitude , No Man is a lonely Island and A Group of Three is a Collective presenting the complexity of human three conditions. The language of the dancers movements tells the hidden fluctuations occurring beneath a seemingly calm surface, and the constant adjustments maintaining a composed appearance. Like walking on a balance beam, the dancers are constantly pulled by two opposing forces. Eventually, their struggles lead to an enlightenment. They are reconciled with both themselves and the multitude of reality, and regain a clear and empty state of mind. Zheng JieZheng Jie was born in 1989 in Lanzhou China and graduated from Shanghai Theatre Academy in 2011. He received a number of significant awards for his performance in Perhaps fly and became a rising star. After graduation, Zheng joined Beijing Contemporary Ballet Dance Company and later toured with the company to the US, UK, France, Germany, the Netherlands, Denmark, Israel, Singapore and Australia as the leading dancer. During that period, he also worked with the Art Director of the National Danish Dance Theatre to produce End of Loneliness Full, which was performed in New Royal Danish Playhouse. In 2015, he participated in Escaping from the Temple by Zhao Liang, which was commissioned by China Shanghai International Arts Festival; later in the same year, he joined the new concept music dance project Sheng Teng as choreographer. In 2016, he worked for DLAB DANCE as creative choreographer and performed one of Wang Jianhuis works Awakening. He also created The Letter of Love and Icosahedron, which were debuts at Shanghai Grand Theatre. Meanwhile, he initiated a play in which performers could dance in a specific environment and later performed an environmental play in Xintiandi. At the end of 2016, he joined the directing team of dance Early February, which was presented by Shanghai Grand Theatre. He performed in dance The Nightingale and the Rose in Latvia and Estonia, and dance Dinner in UCCA in 2017.
During late Tang Dynasty, a time in history of turbulence and uncertainty, young Li Shanfu met Luo Niang who had been living in the mountains. How would they keep promises built on lies? Two solitary souls embraced each other in silence and sorrow. Rosy dreams were buried in wind and snow. This film-textured Kunqu Opera with unsolved mysteries has an unexpectedly lively rhythm. Fantasies and reality seamlessly blend to explore the multidimensional inner self. These characters then become mirrors, reflecting the era and society; at the same time, creates an invisible dialogue between Changan and Zhongnanshan, the most important city and mountain in Chinese culture. As the production team, Shanghai Kunqu Opera Troupe has injected youthful vitality into the classical and traditional expression of art. * Changan, now known as Xian in Shaanxi Province, was the capital city for 13 dynasties across the Chinese history. Yan XiaopingYans works always display a focus on the Chinese-style expression of art and contemporary philosophy, masterfully blend of classic and modern elements. Yan obtained a Bachelor degree in Dramatic Literature from the National Academy of Chinese Theatre Arts, and later a master degree from School of Arts, Pe-king University. As the champion of the 1st Young Writers Project, Yan received funding from the China National Arts Fund in 2015. Her works were selected for the China National Arts Fund Young Playwright Training Project, Lao She Dramatic Literature Award Program, and was the award-winning piece identified by Ministry of Culture. Yan was selected and participated in Royal Court Theatres New Writing Project. Previously as Editor in Chief at Sinas Performance Channel and Director of Public Affairs at Sinas Entertainment Industry Department, Yan is a senior media professional who has made great contribution to cultural journalism.
One is the Millennium flower Nie Xiaoqian, a warm man is infatuated Ning Caichen, the minister is in love in Lan Ruoxuan, The evil spirit and the human origin are the water and fire, this pair of lovers, each of their own conception, is for "love". In the fight with Yanxia, Xiao qian in the original shape, the fierce terror, inadvertently scared to death. In order to save the life of the lover, Xiaoqian took off the mandala flower, which made the petals fall and the time fell. Time has kept Nings life and the perfect little Qian in his heart. Alas, the mandala is withered and withered... Yuan YeGraduated from Chongqing University film and television college. In 2009, he founded 303 drama club, and has created 12 pieces of original drama works, 1 crossover Sichuan opera so far. As a member of the Chinese Dramatists Association, director of Chongqing Dramatists Association, Yuan Ye has won the 2013 National Small Theater performances award, Chongqing Five-Ones project award. His crossover Sichuan opera Even Wood won Wuzhen Drama Festival Youth Repertoire and so on.
The clear stage looks like an empty open box. The creator and the observer are together, to construct a real and virtual relationship here. There is always an empty box stored inside of everyones heart. Reality and dreams are intertwined with potential personal awarenesses. In her empty box, full noises and solitudes from the urban jungle, eagering to break through the barriers of communication, but facing the failure again and again. That "she", is so familiar but also strange, dangerous but full of temptations. Dose she have the courage to face the fact, when the consciousness touches the other herself in this empty box? Death comes down to the earth, whom keeps the routinism, whom looking forward to be changed, beginning to put the first stage property in the empty box of his own... Three stories, three paragraphs of inner self, when all the boxes are opened, what will happen... Zhang LingnanIn recent years, Lingnan has supervised and produced plenty of stage shows, such as a multimedia theatre A Ray of Sunshine and a puppet show A Flying Boy, etc. He devotes most of his efforts to the exploration of dilemma of human nature in different times. Besides, Lingnan does his most work in integrating multiple traditional artistic expressional styles on contemporary theatre stage. Audience will find Chinese Opera, puppetry, Nuo opera and other art styles in his works. Understanding the noticeable impact of cultural globalization on Chinese drama, Lingnan is also committed to cross-culture drama study. Lingnan has been to University of Newcastle, University of Rome and University of Florence in Italy, Columbia Calviwa University, etc. to perform and attend drama cultural exchange activities. His adaptation work, The orphan of Zhao, was presented as one of the closing performances on the ninth Asian and Pacific Regional Theater Academy Festival (ATEC) in Colombia. Huang SaifengHuang Saifeng graduated from Shanghai Theater Academy majoring in oil painting. He has always been interested in art and its connection with our innate humanity. From this interest, he has lately created several artworks, including Tin Drum Memories, Silent Memory, Instant Light and the interactive art project Empty Box Game. He observes the world like a spy with a distant look and maintains a dialogue with it in his own unique way. His work is characterized by a feeling of lyrical dreamlike sadness that is always present. He has exhibited his work in Taipei and Shanghai in solo exhibitions Lost in Memory, So Close So Far, Empty Box Game. All his works have also taken part in Shanghai Art Exhibition, Young Chinese Artists Exhibition, Young Asian Artists Nomination Exhibition and etc. In 2015, he received the Saint Angelo Shiny Artists Award.