By love-89.com On October 19, in a discussion led by Feng Yuanzheng, the head of the Beijing People’s Art Theatre, the theme for the ongoing “New Horizons in Drama: International Theatre Exchange Symposium” was unveiled. He articulated, “‘Heart without boundaries, the realm expands’. The ‘realm’ symbolizes the fleeting dreamscape created on stage, a resonance between art and reality, and a shared experience for theatre practitioners worldwide.”
Taking place during the 2024 Beijing International Theatre Invitation Exhibition, the symposium gathered theatre elites from China, France, Hungary, Slovenia, Poland, Italy, as well as Hong Kong and Macau. The discussions revolved around the future development of theatrical arts under the theme “New Horizons in Drama.”
Chen Yongquan, deputy chairman of the Chinese Theatre Association and vice president of the International Theatre Institute, remarked during the forum that theatrical arts have always carried the sacred mission of connecting hearts and merging cultures since their inception. With its unique artistic form, theatre showcases various ethnicities and cultures while telling stories common to all humanity.
Feng further asserted that art knows no borders. To enhance collaboration and exchange, the Beijing People’s Art Theatre plans to broaden its international cooperative initiatives, including reviving the tradition of inviting internationally acclaimed directors to create productions in Beijing. He emphasized the importance of a commissioned creation mechanism for theatre festivals, which not only enriches the invited exhibition’s repertoire but also deepens mutual communication and understanding between Chinese and foreign artists during the creative process.
As the 60th anniversary of diplomatic relations between China and France approaches, the 300-year-old Comédie-Française participated in this exhibition with a production of Molière’s “The Deceitful Tourneur.” Baptiste Marnier, deputy director of the Comédie-Française’s production department, shared insights on the balance between tradition and modernity, stating, “We must consider the energy that the past provides us. It is not an endpoint but rather a starting point as we continuously move into the future,” illustrating the ongoing tension between the old and the new at the Comédie-Française.
Marnier also revealed aspirations to construct a new theatre for the Comédie-Française, where annual theatre seasons could welcome troupes from Europe, Asia, and beyond. “We are eager to have outstanding foreign plays translated into French, ensuring they become timeless classics in France,” he added.
Norbert Rakowski, president of the Jan Kochanowski Theatre in Poland, expressed the notion that international exchange and collaboration significantly benefit theatrical arts, allowing for energy and perspectives to be shared across nations, ultimately allowing each to learn from the strengths of the other.
With the deepening of international exchanges in drama, creators face the challenge of navigating both the commonalities and differences that arise from various cultural backgrounds. They strive to maintain the cultural authenticity and artistic integrity of their works while ensuring that diverse international audiences can understand and appreciate them.
Peking opera artist Pu Cunxin, who has portrayed a variety of stage personas throughout his 40-year career, reflected on the challenges of translating plays for international audiences. He emphasized the distinct rhythms and expressions in different languages, noting the difficulty in achieving a faithful translation, whether through subtitles or simultaneous interpretation. He believes that maintaining conciseness while preserving the integrity of classic dialogue and allowing audiences to connect with the performance in real-time presents a significant challenge—one that he aims to address.
Regarding the localization of foreign classic works, Tang Ye, a first-class director from the Beijing People’s Art Theatre, emphasized that the crux lies in whether the creator clearly understands what they intend to express during the selection of a work for adaptation. This process of reflection and confirmation marks the beginning of localization.
Leung Tze-ki, executive director of the Hong Kong Repertory Theatre, echoed this sentiment, highlighting that understanding the related work through one’s own culture is crucial. “What you perform carries your cultural DNA within it,” he stated.
Similarly, Yang Bin, production manager of the Macau Theatre Research Society, agreed, asserting that the richness of their culture allows for the creation of works that connect with contemporary audiences by embedding their own experiences and stories into the theatrical space.