Stories behind the Chinese Traditional Opera Festival in Paris
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Stories behind the Chinese rFradi.
1ionaI Opera FestiVal in Paris
ri(1lld Pholos}j1 I I il Gang。
Since 2003,the Chinese Traditiona1()pera Fcstival has been held seven times.Over the 14 years,the fcstiva1 has been very popular among the French audiencc.This},ear、the tickets were sold OLlt iI3 advance all【i the house was packed at each performance.The Center of International Cultura1l exchange dispatchec1 a group of opera experts t()Paris to watch the performanCCS.The first Seminar on Chinese()pera was CO— l3old 1)v the(}enter of International Cultural Exchange and the China Cultura1(;enter in Paris.A group of scholars in theatre studies as wel】as per rmers gathered to discuss how to 1)etter pr()n]ote Chinese tl・aditiona】opera abroad.Compared with the previous ones.the fest]val of this\,ear js special for its man\ h ighlights and stories.、 u(;ang.our special contributor to and General Secretar) of the festival、will tell LIS st()des behind Chinese traditi()nal opera in Paris.
Tickets sold out
I、l1c Chinese Traditional Opera Festival 、、’I】s held by the China Cultural Center .11 Paris(hereatier Cultural Centre- ), which is a non—profit cultural exchange organization established in Paris by the
V.、still Irom Peking OperaA 14qMB, Chinese government. Fhe performances ofthe f rst three tihies were housed i11 an ancient theatre rented beside Eiffel rower. Fhis year,the Culture Center,working with Fheatre de la Vilie and Ma1akofl’ .rheat re,devoted g reat effort to the ,, , 。 publicity。fthe festiva1・I.arg。posters were put up at the nlajol‘crossings and subway elltrances.The advertising hand— outs issued by the theatre devoted twro pages to the details of each opera at the rcstiva1.Hall of the tickets had been sold by September.By early November,a ll the tickets had been sold out.Yet before the perfbrmance started,there were still many people waiting in queue,wishing to buy ca ncellations. More Chinese opera forms going abroad of other types ot Peking Opera a re Chinese oDcl‘d[ha11 st川Unknow rl to thc world.。I he Chinese I raditional Opm‘a Festiva1 serves as a bridge bct、、 con the Chinese opera and the l| o rld.‘\pa w’t trom major opera forms such 1s I)eki ̄lg Opera and Kunqu Opera,a dazzling ar— ra y of opera tbrms虬1ch a s Pi ng Opera, Yu Opera,Chuan Opera,Qinqiang, Yue Opera,I l Opera, ]iangxi Opera Jin Opm Wu han Oper1lJ Yangzhou Opera,Pux ia n Opera and Hebei Ba ngz i were brought to the stage.Some cndall— gered minor opera form s sHCh a s tbe Song—and—dance Duet popul:n’in Inner Mongolia weFe also included.
Bringing a least of’Chinese opera Ior the French audience to eniO V,thc Chinese Fraditional Opera Festix,al also acts as a platform by which many ChilleSe opera tbrms go onto the internlational stage. China boa sts Flumerou s opera trea—Taking risks with non—acrobatic sures,and there're a growing number ot’classics troupes putting on pertbrmances abroad. But due to various reasons,the majority In ternls ofopm‘a selection thc Chines
e l l‘aditiona/Opera Festival tends to put on classics,especially those operas enjoy— ing enduring popularity among the au— dicnce.Fo r"example,at the 4th Festival, when deciding whether l I1( ra/、川l I/s'/I( d IIg Ilolk ̄ , ,a classic Peking Op— era that has been running fo r’over 200 years,should be selected,Fujian Peking Opera Troupe worried that the opera might be 0n the maudlin side.However, it turned out that a story about love be— tween tl1e son and his mother could al— ways resonate with the audience,despite the language barrier.
This year we invited the National Pe— king Opera Troupe to perform 77. .1JIl( k、PIII'.S'( which wa s a1 so a ri sky n]ovc.As a typical opera featuring songs and speeches,without much acrobatics, would it appeal to the French audience? lt turned out this opera sold best.And the tickets ̄'ere sold out two months befoFC the performance date.
In the past,operas teatu ring acrobatics, SUch as\I 77., 一{I I・oH({ S'lO1) I【, IIo!'s( and ,f a/ing’77. 'lla#11。Ih , h, were the mainstay when Chinese opera went abroad.However.acrobatics may have lost their appeal to the audience 、、 hen they tmre been repeatedly exposed to the rll over the years.Given the factor, from the very outset of the festival,we.Vc decided to choose more non—acrobatic classics.We are confident that the pro— found Chinese culture and arts,which has withstood the test of time,will reso— nate with the western audience as they have moved so many Ch inese people.
The western audience grew up watch— ing shows like、ogre Datm , ,I ̄aris.I.es IIA'dt ahh's and t ̄omco,,,,,/.Inli ̄ ,.all stories about humanity.Stories prob— ing into humanity can always appeal to the audience across the world.0vet the years,with their touching stories and graceful songs and speeches,classic。p— eras like Tke LucA:} f)}{ m’IYI/ I ,r,/IIA Ilo/he!’and 77. Iqlu vii( |t)Don struck sympathetic chords among the French audience,produc— ing better responses than those operas featuring acrobatics.Different Chinese stories kept them constantly intrigued. And that one of the reasons why the Festival can survive and thrive in Paris f0r so many years.