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EVER-HIGHER disposable incomes and a broader scope of entertainment in an up-tempo social setting all work to imperil the survival of traditional forms of Chinese recreational culture. Lu Opera, which originated in Hefei, Anhui Province two centuries ago, has risen admirably to this challenge by updating its repertoire to reflect contemporary life.
Wang Yang, deputy director of the Culture Bureau of Changfeng County, Hefei, accompanied the Lu Opera A Female Village Head on its maiden circuit of Anhui. It was a huge success and played to packed theaters, was his jubilant appraisal of the tour. “More than 8,000 people came to the show in Chaohu. Many stood for the whole 90-minute performance.”
Changfeng County invested RMB 400,000 in the Xinxin Art Troupe’s (formerly the County Troupe) production of A Female Village Head. The story and stock characters are all based on local life, according to Wang Yang, who wrote the libretto. Its resounding success is attributable to its comedic scenarios, such as “forswear gambling” and “blind date,”that reflect authentic facets of contemporary rural life. Since September 2011 the troupe has given 100 or more performances around Anhui Province, and generated a healthy RMB 750,000 in ticket revenues.
Wang’s euphoria is understandable bearing in mind that only a few years ago the troupe was teetering on bankruptcy and Lu Opera appeared to be on the verge of extinction.
at Hefei Arts College. They are to perform an adaptation of the classical Peking Opera Women Warriors of the Yang Family.
Duan said that it takes three to four months to rehearse this challenging play. She is, however, more than satisfied with the young performers’ hard work and budding professionalism.
“The government has made clear the importance it attaches to preserving this intangible cultural heritage through its launching of supporting policies,” Duan said. “Last year saw Lu Opera performances on such significant occasions as the provincial TV Spring Festival Gala. We are grateful for the generous funds we receive from local enterprises, but believe we have earned this attention and sponsorship in our own right. In the past, financing was not our responsibility, so we were less motivated to enhance our performance, and consequently had a limited market.”
Duan has led the troupe in performances of traditional Lu Opera and also of new operas. Her latest project is shooting a film of a Lu Opera classic.
Art troupes are not alone in benefiting from cultural restructuring. It has brought the common people far more choices in their cultural life than ever before. There are free Lu Opera performances every weekend in a park in Hefei for local residents and visitors, and art program tours of communities and the countryside give more lay people the chance to experience Lu Opera. The revival of this traditional culture has attracted a large portion of its original audience who, in the process of enjoying this performance art form, boost the economy. The National Bureau of Statistics reveals that in 2010 urban Anhui residents spent RMB 1,480 per capita and rural residents RMB 364 per capita on recreation and education – an amount higher than the national average.
Urban Adaptations
Culture is the spirit of a country and the symbol of a city. When talking about France, people think of the Moulin Rouge, the hula-hula epitomizes Hawaii and, to the Chinese, the songand-dance duet is a typical Northeastern China performance art form. Wang Yang and Duan Tingting are constantly thinking of ways to make Lu Opera emblematic of Anhui culture.
Wang believes it essential to train more professionals, but few colleges have specific Lu Opera programs. Nor are there many graduates to whom working for grass-root troupes appeals. When asked if he would like to expand the market outside Anhui, Wang admitted that limited funds are the biggest obstacle to this ambition at present. He is considering cultivating a market by increasing the number of performances and creating more popular plays.
Duan also needs talented actors and writers. Her troupe has a history of 60 years and includes a fair number of senior actors who appear in audio and video archives. The troupe, however, knows full well that it desperately needs young blood.
Duan Tingting is also constantly grappling with the problem of how to bring Lu Opera to a wider audience. She believes that this old performance art can be advanced through modern techniques and new media, and has hence shot Lu Opera music videos and introduced Lu Opera to karaoke. In her eyes, what she does has meaning only through public acknowledgement.
In recent years, Duan Tingting has brought her beloved performance art to the national stage. She is at the moment rehearsing a retrofit of a classic love tragedy. To her, this is an opportunity to promote Lu Opera. "Overseas audiences appreciate the music of Lu Opera. I hope the play will tour abroad so the rest of the world might see and hear this beautiful story," Duan said.
Wang Yang, deputy director of the Culture Bureau of Changfeng County, Hefei, accompanied the Lu Opera A Female Village Head on its maiden circuit of Anhui. It was a huge success and played to packed theaters, was his jubilant appraisal of the tour. “More than 8,000 people came to the show in Chaohu. Many stood for the whole 90-minute performance.”
Changfeng County invested RMB 400,000 in the Xinxin Art Troupe’s (formerly the County Troupe) production of A Female Village Head. The story and stock characters are all based on local life, according to Wang Yang, who wrote the libretto. Its resounding success is attributable to its comedic scenarios, such as “forswear gambling” and “blind date,”that reflect authentic facets of contemporary rural life. Since September 2011 the troupe has given 100 or more performances around Anhui Province, and generated a healthy RMB 750,000 in ticket revenues.
Wang’s euphoria is understandable bearing in mind that only a few years ago the troupe was teetering on bankruptcy and Lu Opera appeared to be on the verge of extinction.
at Hefei Arts College. They are to perform an adaptation of the classical Peking Opera Women Warriors of the Yang Family.
Duan said that it takes three to four months to rehearse this challenging play. She is, however, more than satisfied with the young performers’ hard work and budding professionalism.
“The government has made clear the importance it attaches to preserving this intangible cultural heritage through its launching of supporting policies,” Duan said. “Last year saw Lu Opera performances on such significant occasions as the provincial TV Spring Festival Gala. We are grateful for the generous funds we receive from local enterprises, but believe we have earned this attention and sponsorship in our own right. In the past, financing was not our responsibility, so we were less motivated to enhance our performance, and consequently had a limited market.”
Duan has led the troupe in performances of traditional Lu Opera and also of new operas. Her latest project is shooting a film of a Lu Opera classic.
Art troupes are not alone in benefiting from cultural restructuring. It has brought the common people far more choices in their cultural life than ever before. There are free Lu Opera performances every weekend in a park in Hefei for local residents and visitors, and art program tours of communities and the countryside give more lay people the chance to experience Lu Opera. The revival of this traditional culture has attracted a large portion of its original audience who, in the process of enjoying this performance art form, boost the economy. The National Bureau of Statistics reveals that in 2010 urban Anhui residents spent RMB 1,480 per capita and rural residents RMB 364 per capita on recreation and education – an amount higher than the national average.
Urban Adaptations
Culture is the spirit of a country and the symbol of a city. When talking about France, people think of the Moulin Rouge, the hula-hula epitomizes Hawaii and, to the Chinese, the songand-dance duet is a typical Northeastern China performance art form. Wang Yang and Duan Tingting are constantly thinking of ways to make Lu Opera emblematic of Anhui culture.
Wang believes it essential to train more professionals, but few colleges have specific Lu Opera programs. Nor are there many graduates to whom working for grass-root troupes appeals. When asked if he would like to expand the market outside Anhui, Wang admitted that limited funds are the biggest obstacle to this ambition at present. He is considering cultivating a market by increasing the number of performances and creating more popular plays.
Duan also needs talented actors and writers. Her troupe has a history of 60 years and includes a fair number of senior actors who appear in audio and video archives. The troupe, however, knows full well that it desperately needs young blood.
Duan Tingting is also constantly grappling with the problem of how to bring Lu Opera to a wider audience. She believes that this old performance art can be advanced through modern techniques and new media, and has hence shot Lu Opera music videos and introduced Lu Opera to karaoke. In her eyes, what she does has meaning only through public acknowledgement.
In recent years, Duan Tingting has brought her beloved performance art to the national stage. She is at the moment rehearsing a retrofit of a classic love tragedy. To her, this is an opportunity to promote Lu Opera. "Overseas audiences appreciate the music of Lu Opera. I hope the play will tour abroad so the rest of the world might see and hear this beautiful story," Duan said.