CPPCC members discuss better ways of showcasing and introducing Chinese stage performances to foreign audiences, Fang Aiqing reports.
The Chinese performing arts industry is looking forward to bringing more quality work to the world, experts said during the recent two sessions.
"Since reform and opening-up began in 1978, we have exported art forms such as Peking Opera, folk music and dance. Now I believe it's time to let foreigners experience the beauty of the Chinese language — theater, for example — even if it's through subtitles," says Tian Qinxin, a member of the 14th National Committee of the Chinese People's Political Consultative Conference and president of the National Theatre of China.
"Deeply rooted in China's poetry tradition, Chinese theater is known for its romantic structures, blend of multifaceted spaces, and elegant rhetoric. We have great stories to be appreciated by foreigners," Tian says.
She adds that international audiences can easily enjoy foreign language performances through subtitles, and that Chinese theater production teams should not view language as a barrier.
Tian is calling for more government support in building a long-term collaborative mechanism for international art exchanges and improving the training of young artists.
A theater director and playwright herself, her recent musical drama, The Summoning of Dunhuang, was inspired by the life of Chang Shuhong (1904-94), the founding director of the Dunhuang Academy, who dedicated his career to protecting and promoting the art of the Mogao Caves in Dunhuang, Gansu province.
Tian hopes the drama, which integrates artificial intelligence and auto-stereoscopic technologies (which allow users to view 3D images without wearing headgear), will be accessible to an international audience.
Her idea resonates with Xu Zhong, a deputy to the 14th National People's Congress and president of the Shanghai Opera House, who has long been promoting the country's art to the world — specifically, the way to convey Chinese culture on the world's top stages through Chinese-language operas.
Xu particularly emphasizes the importance of borrowing from traditional Chinese culture and the integration of creative content and cutting-edge stage technology.
An upgraded version of the dance drama White Snake, for which Xu produced the music, made its debut two weeks ago. This adaptation of the Legend of the White Snake, a millennium-old household folk tale, is a dialogue between the ancient and the modern, ballet and Chinese classical dance, Western instruments and Chinese folk music.
White Snake is scheduled to premiere in July at the Lincoln Center in New York, its first overseas appearance.
Xu, a conductor and pianist, also stresses the need to enhance intellectual property protection for Chinese creations, calling for the establishment of an early warning system and a prevention mechanism for copyright infringement disputes.
He suggests that the associated departments strengthen support mechanisms to ensure the use of legal means to protect rights and minimize losses abroad.
With years of experience in cultural exchange, performing arts industry insiders are attaching greater importance to creating quality work while building cultural confidence.
