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    And the Future Echoes

    This is the dialogue between times, between style and idea. By the virtue of digital effects as well as performance and extension of projection, musicians and dancers live performance brings Guqin ancient song, Shanghai old song, modern city and industrial sound together to form the multi music space. As time goes by, it witnessed countless touches, collisions, fractions, and integrations. Since dialogue continues, voice from the bottom of heart becomes clearer. Music design and compose: Jeff Tse, Lin Man, Wu SiruQin: Lu Xiaozi / Violin: Wang Yingsi / Cello: Feng RuiPercussion: Zhu JiachenDance design: Zhao YuanhangDancer: Zhao Yuanhang, Tang TangInteractive Video Design: Zhang Yinan, Hong Xiao

    Music 2013

    Dolphin Song

    Dolphin Song is a lamentation on the recent extinction of Yangtze River baiji White Dolphins. One of the rivers greatest losses, the dolphins extinction is considered the first time human activity directly caused an entire species to disappear. In four movements, this piece of music tells the tragedy of the dolphins. The first movement is a depiction of Mother Nature at work, where the dolphins live, breed, feed, and die according to natural cycles of life. The second movement tells the legend of the Yangtze princess; the creation myth of the dolphins told by generations of Yangtze River fishermen. This story is central to the concept of respecting Mother Nature, and as folklore, is an intangible cultural heritage that holds sway in teaching us how to live as a small piece of the puzzle that includes all of Mother Natures creations. The third movement depicts our materialistic desires and the resultant conflict between the dolphins and us, while the finale is a spiritual farewell from all the dolphins when their spirits evaporate with the river water on a warm sunny day. The work is a prayer for action; a call for us to protect what little of the wildlife is left in our time. Composer: Sam WuBamboo Flute: Wang JunkanViolin: Zeyu Victor LiViola: Xue FengCello: Kang HaojiePiano: Ge HaoPercussion: Xue XiaolunMultimedia: Catherine Li, Jocelyn Hung, Dinah Lee, Adrienne Hugh, Cynthia Park, Sam WuMultimedia Controller: Jacob Choy

    Music 2013

    Jinyang

    Jinyang, the ancient name of Taiyuan city, was founded two thousand and five hundred years ago, developed over the Spring and Autumn Period of five dynasties, peaked in the Tang Dynasty, and was burned down over 3 days in the Song Dynasty. Fortunately, posterity has been able to unearth historical relics and sites, among which were many Buddhist temples. It has since been dubbed Chinas ancient city of Pompeii.The composer grew up with influences of Buddhism and Taoism. The acquisition of local natural sounds, the clear and pure female voice with plain male voice, and drum from local villages, all combines to shape the Jinyang city that blurs space and time. With the unique characteristics of world music, the composer divides the work into three parts, that is, Cultivate Oneself, Release Souls from Purgatory, and See All Sentient Beings. It outlines the old image of the ups and downs of human civilization.

    Music 2014

    Live Soundscape and Electronic Music Talking Goods

    The work Talking Goods begins from the ‘random opening of a coke can, the seemingly trivial meaningless collision and extrusion constructs an interesting soundscape. The inflectional storytelling and ballad singing in Suzhou dialect circuitously penetrates in modern metal tonality, the performance of string, Pipa, Cong and Zheng, or fast or slow, the dancers moving point, the timely cuts in multichannel interactive electronic music rhythm... The object, language, sound, and tone melt together, which is a subtle and ordinary leap into a special music experience.

    Music 2014

    Musical Rags’ Love

    Rags Love is about five rags in room 501, unit 8 of a flat. Their life may not be complicated, but all of them have a great story. Though busy, they spare some time practicing art. They occasionally sentimentalize about life, and gradually fall in love with each other in mutual comfort. As the arrival of a new member - super rag Awei, great change is about to happen. How can Juan Mao, Hua Gu, Li Li and Da Hei with different personalities fully display their talents, and turn the tide? The musical showcases 12 original songs, happy and sad together, with exaggerated humorous dance. They reflect the identities and unique values of the ordinary people from the angle of rags.

    Music 2014

    Anda Union plays In the Steppes of Inner Mongolia

    In the Steppes of Inner Mongolia depicts the past, present and future of the Mongolian steppe by nine movements: ‘Past reviews the carefree nomadic lifestyle of the Mongolian people, which is a kind of harmonious culture between human beings and animals; ‘Present, faces to the degenerated prairie, the intemperate mining, agriculture, and urbanization, which directly lead to the worsening of the ecological environment; Followed by the uncertain ‘Future, which may be a dystopian world without ‘Anda, but also the rebirth of prairie.

    Music 2014

    Five Actions of Wu Kong

    Wu Kong, the most famous Chinese character, is actually an ideal complex of ambivalence. On one hand, as a monkey born from a rock, it is one-of-a-kind creature doesnt belong to human being, holy or evil spirits, but meanwhile bears characteristics of these three categories of spirits. On the other hand, when the monkey was given the Buddhist name Wu Kong (means to realize the void senses it was caged by its fate), which is to struggle and fight for its freedom all its life, by accomplishing the tests preset by Buddha. Wu Chengen (1501-82, the author of Journey To the West, one of the four Chinese novel classics) didnt let Wu Kong to think about its own fate in the novel, leaving the space to interpret on our own. Isnt it true that there lives a creature like Wu Kong deep in the soul of each human being? Isnt it true that each of us is fighting for the freedom defined by oneself all ones life? Five Actions of Wu Kongreflects on the inner complexity of ambivalence. The five actions are constructed with a Chinese theatrical approach to tension and relaxation. All means are taken to realize this oriental linear development:Lento – the Purple Forest of SpiritsPresto – There is a young lady on the road ahead!Andate－Monolog in the MoonlightLargo – Wear this, then you will be freeAllegro – Eternal Battle

    Music 2015

    Hear the Way in the Morning

    Is there some kind of emotional mood, which is shaking our faith and is going to destroy our mutual spiritual home? Is there some kind of extending culture, which will let us become completely irrational and will wreck the life that we painstakingly built up? Maybe there is no answer in the end; maybe everything is outside of the plan. Hear the Way in the Morning shows a brand new method of how we express ourselves on stage.The director rebuilt the relationship between audience and the theatre. The daily life of every audience and the play itself will combine with each other, and this connection is the most important part in this show.

    Music 2015

    Sever

    Wrapped in an absurd and hyperbolical narrative, the music film revisits an ancient Chinese folk tale: Guan Yu beheaded Diao Chan. In this film adaptation, Guan Yu, the once proverbial historic hero in the Three Kingdom period, travels to the modern urban society and finds himself frustratingly debilitated day by day, while a modern thespian devoted to playing Diao Chan (a femme fatale in Guan Yus time), primps and preens herself for her performance, not knowing the tragic looms ahead. The two storylines are intertwined and eventually come to an end as Guan Yu severs Diao Chan on the stage, a symbolic scene with stark historical resemblance: back in the Three Kingdom period, Guan Yu killed Diao Chan for the sake of loyalty and justice. By juxtaposing this anachronism, this innovative rendition attempts to answer how we should reflect on our tradition.

    Music 2015

    Day and Night

    Day and Night is an electronic neoclassic music piece with multimedia and installation recomposed from the 24 Preludes Op.28 by Chopin. 24 motives taken from each of the 24 preludes carefully weaved into 24 minutes of blasting enjoyment. Discarding the original composing technique and inner structure of Chopins work, Day and Night follows the shifting time within one day. Starting from the midnight to dawn, noon, afternoon, dusk and coming back to the end of the day, the work will take you through the evolvement of modern music in the 21st century.

    Music 2015

    Music Theatre: “I” Fantasie - Rencontre between Debussy and Du Li Niang

    Rencontre between Debussy and Du Liniang is the first work of Gu Jieting Studios musical theatre series I Fantasie. Gu Jieting integrates piano - an instrument from the Western culture, to the Oriental heritage - Kunqu opera. Based on the two distinguish classical forms of music, Gu reveals a spectacular visual and audio feast; she interprets the Western and the Easter cultures in innovative ways, while seeking for a connection between the classics and the contemporary. The musical theatre is divided into three sections, including piano, Kunqu opera and the screen; they visualize the dialogue beyond space and time. I stands not only as oneself but for everyone involved in the audience; as Fantasie tells our longing for love and dreams. While the screen brings the audience through the flowing imaginations, the gentle notes of piano blending with ancient melodies bring us back to the charming nature of our fantasies. The versatile expressions fill the performance with intension yet the journey was led with an elegant pace. Directed and Produced by GU JIE TINGScreenplay ：GU JIE TINGPianist &I：GU JIE TINGStory adapted from "The Peony Pavilion" by Tang XianzuDu Liniang：LV JIAChunxiang：ZHOU JINGFlute：SHI CHENG JINguyen：SHAO CHENRearrangement & Sound Design：JIN WEIWEIStage art Design：TONG WEILIELighting Design：WANG BEIJUN CAO BINGLIANGStage Manager：SHI JIAJIAVisual Art Director：YANG YONGLIANGScreenwriter and Film Director：XU YI

    Music 2016

    Music·Theatre --Folding City

    Folding City was a Sci-fi musical - theatrical work adapted from Ma Haipings electronic music album in 2016. Fast mechanical pulses and sparkling composite sounds construct the grandeur of a future metropolitan: floating, evolving, complicated, infinite, hopeful and dynamic. The magnificent atmosphere is a combination of sci-fi and reality, which makes the audience think of Manifesto of Futurism written by Filippo Tommaso Marinetti a hundred years ago. The expectations and anxieties of people in todays society about the future, together with the various details and texture of future cities, are all presented in this work that discusses post-modern social issues. Folding City features both realism and a sense of nativeness. Director: MA HAIPINGOriginal Work: HAO JINGFANGAdaption: CAI YIYUNPerformance: MEI ER RONG ZHAOQI DONG YIJIANGLINGMusic: MA HAIPING WANG MENG XIA BAOImage Interaction Design: YANG LEILighting Design: GUAN YUTONGCostume Design: LU XIAOXIAOProducing Management: YOU ZHEYAN

    Music 2016

    Oratorio: Rubbish on the Square

    In the morning of October 1st 2013, the National Day of China, lots of people from all over the country came to Tiananmen Square to watch the flag-rising ceremony in the rain. After the ceremony, about 5 tons of rubbish was left on the square. This situation was published on the website and became the hot topic nationwide. Oratorio Rubbish on the Square is based on this event. It is performed by 4 soloists, mix chorus and a piano. The work not only shows the inflexion of the debate, but also describes lots of famous or nameless opinion leaders and public figures. The composer wants to call attentions to the mob phenomenon--out of sense when flocking together through this work, at the same time he wants people to protect the environment and love our country rationally.

    Music 2015

    Chamber Opera: The Trio

    In his newly-rented apartment, a young man meets the middle-aged and elderly incarnation of himself. These personages are destitute and hopeless, both hoping to return to their youth and rewrite their destinies. Their shared inheritance becomes a point of dispute, and argument breaks out among them in which each party only think of their own benefit. The three of them have no other choice than to bring out their childhood self to help them make a decision, but their continued fighting fills the child with dread. The child cannot withstand the young mans expressions of anger and despair, so the boy jumps from a window, ending his life. The three men immediately vanish: with no once upon a time, there can be no future.

    Music 2015

    2o15

    2015 unfolds like an unfinished history book and tragicomedy in our life. In the other side of 2015, we have 2o15. These are two parallel universes where the same people and similar landscapes recur but develop in different ways.This work is based on scenarios of our daily life. Players, as normal citizens lead you through worlds of reality and imagination, conventional and alienated worlds. The boundary between the real world of 2015 and the virtual one of 2o15 will be broken at last, for both of them share peoples confusion, pain and love.

    Music 2015

    Chamber Concerto Space-time continuum- Pro et Contra

    Space­time continuum ­­­ Pro et Contra is a chamber work written for an ensemble of 13 musicians. The instrumentation of the work is similar to that of a chamber symphony in the 20t h century (each section of the orchestra is represented by one instrument); the relationship between the instruments is similar to that of a Baroque concerto (harpsichord, Violin I & II and oboe as solo instruments and the other nine as accompaniment). The harpsichord functions as an important solo instrument, but is also part of the accompaniment. The super­traditional style of the work aims for an aesthetic that is the specialization of time. The structure of the work is like that of a traditional concerto (three movements in fast­slow­fast relationship). The thematic material of the first movement embodies exoticism and Baroque style. Contrasting the dramatic recitative first movement , the second movement is an elegy. The third movements tempo is similar to that of a Toccata, while the texture is somehow incidental. The complex rhythm and irregular phrasing give an impression of a constantly pausing and skipping grammophon.This is a work that shakes the balance between space and time. It is inspired by the conversation between the European musical language and Oriental musical traditions. The Baroque concerto style merges with the 20th century chamber symphony structure. Composer: DAI BO

    Music 2016

    Chorus Divertimento: The Drowning Sunset

    The Drowning Sunset a suite for the chamber choirGustation, merging unobtrusively in the warm whisper of an idle breeze, twinkling around the fresh ornament of the sparkling cherry, and lingering on the orbicular rest of the day lily, serves as a memory of this world in our daily life. Sequenced chronically by the taste of saltiness, sweetness, sourness and bitterness. The Drowning Sunset tells a story of nostalgia and remembrance. Moreover, this is just as what Ze Ya is featured of; different chapters are sequenced by elements in the 24 solar terms, forming a subtle, poetic redolence. The Drowning Sunset is composed of four chapters, and each chapter consists of two pieces. They are The Sail (Saltiness), The Garlanded Coast (Sweetness), Flying Whales in the Clouds (Sourness) and The Rain at Night (Bitterness). The suite tells a utopian fantasy in the first person narrative, which is composed of four chapters, corresponding to four different emotions and tastes. It begins when our leading character is in his childhood, taken by his parents to an uninhabited island with their puppy, and then starts a new life there. (Chapter 1) With the surrounds of natural landscapes and wildlife on the island, he grows up, full of curiosity and confusion about the outside world. (Chapter 2) As time goes by, his family are all dead, leaving him alone, looking forward to the second coming of the good old days. When there should emerge the sunset from all sides on the island, all of us would be back. Said his parents. (Chapter 3) And then there comes to the end, the lonely aged man lies in the twilight light, simple and unaffected. Where did he go? Where should the sunset glow? In every drip of rain and breeze of wind, from all sides we know. (Chapter 4) Composer: JIN CHENGZHIPerformer：RAINBOW CHAMBER SINGERS

    Music 2016

    A Hunger Artist

    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. Composer：Song YangPerform: hand werkFlute: Daniel AgiCello: Niklas SeidlSaxophone: Georg WisselPiano: Dorrit BauereckerPercussion: Rie MiyamaManager: Hanna FinkActor: Hendrik VogtMedia Design: Ashley Nicole MorganProp Design： Angelia KnyazevaCamera Assistant: Hanna FreresVideo Actress: Valentina Rekowski

    Music 2017

    The Unknown Enlightenment

    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. Chinese Flute Player：Rong YingComposer：Liu JunhaoVisual Director：Luo Hang/Lan ZiyanEquipment Making Director：Cao YuChief Planner：Liao Yisen

    Music 2017

    Overlord

    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.Production Units / Perform: Shanghai Chinese Orchestra Actor（rank by entrance order）：Pipa：Yu BingPercussion Instruments：Jiang YuanqingWind Instruments：Chen YunyingRuan：Sha MoZither：Lu ShashaInvited：Wang ChaoMusic Composer、Musical co-ordination：Huang LeiDirector：Fang YuanyuanStage Design：Qiu Yu-wenLighting Design：Cao BingliangSound Design：Gu YuCostume Design：Li NaStyle Design：Li ZhengyuPhotography：Ni PeiyuGraphic Design：Z Design

    Music 2017

    Beyond the Stillness

    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.Beyongd 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. Choreography：Zheng JieMusic Producer：Fu TeStage Design：Liu HaifeiLighting Design：Chen XiajiCostume Design：De JingVisual Design：Gong Jue / DATESE StudioCopywriter：Tang MengjieActor：Gu Xiaochuan, Luan Tianyi, Zhao Wuyue, Li Lin

    Dance 2017

    Contemporary Dance The Cube

    Through the unique medium of body, the lens is focused at the individuals, who are hustling in the diverse metropolis – Shanghai, and tries to explore the relationship between these individuals and the space. Living in such a city, everyone is subject to tangible or intangible constraints. In this work, the real society is scaled down to a miniature. The model and device constructed on the stage represent and symbolize the relationship between the individual and the society as well as between the body and the space. The work intends to discovery the alien aesthetics hidden in the human body, the tenacious vitality of the human beings in a limited space, and the inner momentum generated through resistance against the space.

    Dance 2018

    Contemporary Dance Whip

    Whiptakes its inspiration from a folk dance of the Bai called The Whip Dance. It is the most popular one of Bais seventy four folk dance genres. The Whip Dance is saturated with Bais history and customs. It represents their humor, primitive simplicity, elegance and energy. This is Jilans first international collaboration, working with the talented London based Hong Kong composer Joanne Clara and Marie Cantenys, a famous cloth designer from France. The lighting design is by Fabiana Piccioli who is based in Rome and has long cooperation with Akram Khan. Farooq Chaudhry, the co-founder of Akram Khan Dance Company, is the producer of Whip.

    Dance 2018

    Hope is the Thing with Feather

    Body, image, soundSeem scattered materials, invisibly emerged and dislocated, mutually Reflected and Filled up Men, Women,In different relationshipsI love you, longing to engrave you into my bonesleaving you, where will I head forDo water and oil separate at the end? If the world is so hopeless,Living, for what?

    Dance 2015

    Between N39° and N40°

    Between 39 and 40 Degrees North Latitude is a work discussing "distance". Over the years, the choreographer travels back and forth between New York and Beijing, which are located between 39 and 40 degrees north latitude, but across the Pacific Ocean with thousands of miles apart. The physical distance is unchangeable. People come and go, meet and part. The distance of time cannot be changed either. Night and day, darkness and dawn.The river of memory is mixed with the aroma of coffee and sunshine on the streets. Illusions rise from the harshest reality: between 39 and 40 degrees north latitude, what could never be changed is the distance between souls.

    Dance 2015

    Farewell, my Concubine

    The King Disarmed is a classic solo piece played by Chinese traditional instrument Pipa. Based on the historical story of Chu-Han combat in ancient China, this music piece tells of the tragic suicide of King Xiang at the back of the Wu River as he was struck by the eventual defeat at the Battle of Gaixia. The solo piece is narrated from the perspective of King Xiang, a ruthlessly gallant general with unparalleled physical strength. He expresses his depression and grief for the loss of his kingdom and his lover Yu Ji through this tragic and soul-stirring piece of music.Fareweill, my Concubineis a dance theatre adapted from the King Disarmed. The theatre unfolds an unlinear historical narrative as Yu Jis phantom is accidently awakened by Pipa performer Tang Xiaofengspipa music. The theatre presents a dialogue between the ancient and the contemporary, man and female, the identity and the ego, time and space.

    Dance 2015

    Modern Dance: Exit

    In her newest work titled Exit, Gu Jiani explores the human desire to exit the mundane. In a perpetual cycle of creation and destruction, we seek paths to liberty and self-fulfillment, yet our desires simultaneously stand in our own way. Inspired by the physics principle that all acting forces create equal and opposite reacting forces, Exit explores the interplay of cause and effect.With explosive athleticism, Gu Jiani and dancers create an inter-locking system; one dancers action sparks a current that flows throughout the others. Against the tonal wash of a grayscale backdrop, the dancers precision movements interconnect like parts of a machine. Yet, juxtaposed with the perpetual motion is the idea of confrontation and rejection. In exploring the tension between conflict and acceptance, Gu Jianis work ultimately provokes these fundamental questions:Where is the exit really? Or, should we re-examine our original desires? Director and Choreographer: GU JIANIDancing: LI NAN WANG XUANQI GU JIANILighting Design: WU WENAN (MALAYSIA)Sound Design: HONG QILEStage Design: GU JIANI HE ZHENGCostume Design: GU JIANI JING TINGProducer: GU JIANITechnology Management: WU WENAN (MALAYSIA) LIU HEStage Supervisor: ZHOU YAJINGPhotography: KEZIEnglish Editor: PINGPANG PRODUCATIONS

    Dance 2016

    Dance Theatre: Tang Shi Yi Dance

    From a contemporary perspective，The Flowing Dance From Tang Poetry guides the audience into the poems written in Tang Dynasty，leads them to perceive the immensity and mystery of the line of verse Who，by the river，catches the first glance of the moon？Will the moon above the river，by any chance，shine on us soon ？ and to sense the profound affection of there is an end to any love story，while this regret will last beyond history ，and holds a dialogue with tradition by using the modern elements of classical dancing. Produced and Designed: JIU WU JIN SHUI CULTRUAL MEDIA CO.Producer: TANG SHIYIArt Advisor: FENG SHUANGBAIDirector: TONG RUIRUI/HE TAOChoreographer：TANG SHIYIDancer: TANG SHIYI，XIAO YU，QIN XI，BI RAN，GAO ZEWEI，GAI ZHENG，ZENG PENGFEIComposer: GUO SIDAStage Design: LIU KEDONGDress Design: ZHONG JIANILighting Design: QU MINGMultimedia Design: HU TIANJIModeling Design: XU BIN

    Dance 2016

    Painted Skin

    Painted Skinis one of the best stories from Strange Stories From a Chinese Studio. It satirizes the way in which people are adept at painting skins for themselves, dressing themselves up with an appealing exterior while hiding a debased soul within. This performance seeks a less-travelled path at the same time while taking the story back to its essence. The wife is cast as the main character as well as the malicious ghost, both played by the same male actor. The malicious ghost is borne out of the turns of the wifes mind: her lack of faith gives rise to the ghost that torments her husband, and her repentance is also capable of bringing her husband back from the dead. This symbolic deconstruction of the story makes the performance a novel visual experience and creates endless possibilities for imagination. Is the good wife a malicious ghost, or vice versa? This structure, akin to an optical illusion that switches back and forth, conveys the essence of the work and the Eastern concept of beauty.

    Dance 2015

    Escaping from the Temple

    Escaping from the Templeis adapted from a classic play in Chinese opera, which is famous for its intricate singing technique and delicate emotion. Legend says that only a true star can master the role. Adapted into dance theatre for the first time, the work is a combination of ritualistic ambience, various musical elements and body movements. The story shows a young monk and a young nun meet coincidentally when they are escaping from their temple. Breaking all the rules and taboos of their religion, they keep their practice in secular blissfulness.

    Dance 2015

    The Moon Opera

    This performance is an adaptation of the most famous novel from the Asian Book Award winner Bi Feiyu. It takes a piercing look into the world of Chinese opera and its female stars. In a fit of diva jealousy, Xiao Yanqiu, star of The Moon Opera, disfigures her understudy with boiling water. Spurned by the troupe, she turns to teaching. Twenty years later, a rich cigarette-factory boss offers to underwrite a restaging of the cursed opera, but only on the condition that Xiao Yanqiu returns to the role of Change. So she does, this time believing she has fully become the immortal moon goddess. Set against the drama, intrigue, jealousy, retribution, and redemption of backstage Peking opera, The Moon Opera is a stunning portrait of women in a world that simultaneously reveres and restricts them.

    Dance 2015

    123·45

    Dance 2014

    All and None

    Dance 2014

    Wind Valley

    Throughout the performance in this dance theatre, Tibetan choreographer Wanma Jiancuo sets the context in a fictional future where human civilization is declining through its birth, development, death and rebirth. Finally all creatures become extinct and are replaced by machines and robots. Wanma tries to explore how technology, such as wind power, influences us throughout the history of evolution.

    Dance 2014

    Dance The Monkey King’s Enlightenment

    Dance 2014

    Rong

    As the descendant of Peking Opera family, QIO shoulders the inborn great trust of inheriting the quintessence of China. Faced with the ever changing world, what feelings does he have and how does he respond to it? Rong is trying to find the expression of time spirit and the consistent lineage of opera charm in the symbolic life. This work develops from the exquisite and vivid facial painting of Peking Opera and follows the painting brush to reflect the rise and fall of the inner emotion. It infuses the Chinese traditional opera (Peking Opera) culture, kung fu (Chen-style Taijiquan) culture, Dunhuang culture as well as "Egyptian Hand" hand culture inspired by the ancient Egyptian hieroglyphs, and thus contributes to the integration of cultural and spiritual heritage in the new time and space. Conception: Pan Qin, QIODirector / Choreographer: Pan QinPeking Opera Performance: QIOCoordinator: Wang BingComposer: Zhang ZhiweiDancer: Pan Qin, Xiao Jianye, Wang Hongtao, Ding Hao, Dong Hao, He Yuan

    Dance 2013

    Spinning Top

    The work starts with short plays, Nv Diao and Nan Diao, presenting that in the opening of a social drama, people express thanks to the god and expel evil spirit; and takes the performance of social drama depicted in Lu Xuns essay Wuchang Nvdiao as a cut-in point. The work combines opera, acrobat, modern dance and percussion together as the basic performance means, expresses the feeling of helpless, confusion of identity, depression of trapping in and psychological confrontation in allegorical way. Audience will expose to the dream of author directly and experience a grotesque story that sometimes seems true and sometimes illusion. Director: Lu Ge, Ding Yi, Fang YuanyuanEditor: Ding Yi, Lu GePerformers: Lu Ge, Ding Yi, Zhu Hai, Guo Yuanlong, E Yuexian,Huang He,Bian Guan,Yuan Bin,Wu XinyaoComposer: Wei ZhigongMIDI Producer: Sun JiayanCostume Design: wherewhatwho (Independent Designer Brand)Props Design: Bian GuanDresser: Jian PeiminPlan: Wu XinyaoSpecial thanks to Jinxing Dance Theatre

    Drama 2013

    Wowo

    In the play, Wowo and Wowow woke up on the first day and found themselves in a very high place. Not only did them confused that why they were on the despair high attitude, but also found themselves unable to speak. The only yelling they could make and connect themselves was the sound Wo~Wo~ from far away. Wowo only had a rope and tied a knot every day, while Wowow only had a cage that could grow a paper plane every day and he threw the plane out of the platform again and again. After 651 days, would they get out of the despair?The platform on the despair high attitude remains people of the skyscrapers in the city or cliffs in the nature, and symbolizes the unconquerable despair in humans subconscious, which means that even though it is not as difficult as in imagination, the majority choose to escape it.The play explores the connections among people in modern society through urban allegorical grotesque forms of expression and contradictory stage space. In the play, Shadow Puppet, the traditional element, is presented by high technology and fully engages in the play, which has added the grotesque and fairy tale feeling to the performance. The real-time interaction between the theater actors and Shadow Puppet operators results in many effects including environment romance, the reflection of inner heart of characters as well as the dialogue of virtual characters. It even makes breakthrough in presenting the exquisite beauty of simplicity and stunning visual effects.

    Drama 2013

    Multimedia Theatre The M Feast

    The play takes Mr. Ms feast as its context. The invited guests (the audience) are asked to join the Wechat group through two-dimensional code scanning. The mysterious Mr. M uses voice commands and randomly selects seven people from the Wechat group. The selected seven are guests of the feast from different social classes and they attend the feast with different purposes. During the play they conduct hypocritical social performances of ‘the upper class at first, but then fight crazily for the so-called mysterious gift. Sartre once said: others are the hell. The law of the jungle among animals and human beings greed and desire were reflected vividly in the play, and the hypocrisy of the seven people gradually fades with Mr. Ms game instructions. This is a story of crime and punishment, the third eye, a mysterious Mr. M and then the strange diners. How will everything end?

    Drama 2014

    Theatre An Expressionless Man

    As a screenwriter and director, Shang Lei graduated from the Department of Chinese Language and Literature of Peking University in 2007. His drama works include What was Make-believe has Become Reality, The Birthday Party, Ulysses in Mental Hospital, Loves Conditional Expression, Expressionless Person, Hamlet Sonata and many others. In July 2012, he was among in the final 6 of the ‘Tian Qinxin New Writing Plan and went to the National Theater of Scotland in Britain. Hamlet Sonata was presented at the Beijing Fringe Festival, and publicly shown in No.9 Theater in Beijing in December that same year.The story is about K and S who meet by chance on the subway. Later, S finds out that they are neighbours in the same residential community, and K has had an eye on her in a social networking website for a long time. It was then that their relationship starts to change.K later contracts a strange disease, which voids him of the ability to smile and makes him subject of ridicule. He desperately tries to recover his ability to smile and plans to meet someone who might be able to help him. Can he recover his smile? What will happen between him and S? A confusing and intriguing situation follows.

    Drama 2014

    Experiment Kinqu Opera Inscription

    Shen Yili graduated from the Shanghai Theatre Academy as a drama performance major and has had leading roles in Peony Pavillion, Palace of Eternal Youth, The Jade Hairpin, The Story of Sima Sheug-yu, Pei Shaojun and Li Qianjun and participated in opera highlights such as Dream in the Deserted Garden, Pursuit of a Dream and The Drunk Beauty. Shen Yili also participated in performances and lectures in Britain, France, Spain, America, Taiwan and Hong Kong, to actively promote the development of Kunqu Opera. Inscription is adapted from the traditional Kunqu opera Soup For Treatment of Jealousy. It tells the story of woman in civilian clothes, Qiao Xiaoqing, who has both talent and beauty, but is sold to a man as his concubine and has to suffer the wrath of jealous wives. This work concentrates on the role transformation in Inscription. The performer plays different roles, transforming from Qiao Xiaoqing, to Du Linaing and others, and then back to Xiaoqing. In the 20-minute performance, a folded drama appears with many fascinating transformations.

    Drama 2014

    Modern Drama: On the Road

    In ancient China, Mingtu Lu Yin, a small piece of paper, a.k.a the special night boat to the afterlife, is the pass to the road of the underworld. During Ming and Qing Dynasty, people believed that the dead had to get the Mingtu Lu Yin and went to the other world, or his soul would linger forever in this world without transmigration and rebirth. The official Lu Yin was only issued by Chenghuang Miao, the local Temple of the Town Deity where the dead one was born, otherwise, the pass was invalid.In the regnal era of Yongle Emperor, Ming Dynasty, the Peking pickle workshop owner Lao Cheng was dying, but the poor man fought hard to hold his last breath to wait his delayed Lu Yin. Due to the flood, the road between the north and south was blocked. Before getting his valid Lu Yin from his hometown, he could not close his eyes and pass away peacefully.After seeing Lao Chengs determination and suffering, his son decided to drag his fathers coffin with Lao Cheng lying in it, alive, from Peking to Nanjing, travelled by the land route and then by boat, to attain the Lu Yin. Director\Playwright: YANG YIKUNStage\Lighting Design: WANG RUNJIECostume\Puppet Design: WU YANGMake up Design: WANG MEIQIComposer: ZHANG YIXINChoreographer: LIU MEICHIStage Manager: SUN MENGZHUCast: YANG YINGYU, HAO SHANSHAN, WANG SHANSHUI, LI ZIDONG Art Director: JIANG RUOYUInscription: HAO GUANGProducer: YE WENExecutive Producer: HAO SHANSHANTranslation: LIU LIPromotion Manager: TIAN LICHENGraphic Design: ZHANG MIAOAcknowledgements: LUO XI, GU XINTONG, CHEN YUJING, LI YUANYUAN 　　　　　　CHINA COAL MINE ART TROUPE

    Drama 2016

    Stage Play: Tang Xianzu

    In the 26th year of Wanli, Ming Dynasty, Tang Xianzu asked for a long leave from his official position and returned to his hometownLinchuan. He devoted himself into writing plays. Away from politics, accompanied by poetry and drama, there should be no ups and downs in his life.But, was he willing to live his life in this way?If so, why did he always have a feeling of anxiety? Why was he always haunted by loneliness?Did not believe in the romance of The Purple Hairpin, but could not give up the love in The Peony Pavilion.Did not wake up from The Dream in Nanke, where should he place The Dream in Handan?In the dream or out of the dream, who can give guidance to Tang Xianzu?Where should he go for the rest of his life? Presented and Performed by Shanghai Dramatic Arts CentrePresented by YANG SHAOLINArtistic Director: LU LIANGExecutive Producer: TIAN SHUIProducer: GONG XIAO, ZHANG YIScript Supervisor: YU RONGJUNScreenwriter: HAN DANNIDirector: YU MANWENStage Designer: REN SIYUANLighting Designer: CHEN LUClothing Designer: DONG GUIYINGPercussion Designer: GAO JUNSound Designer: FAN JINGJINGProps Designer: ZHU CHENQITechnical Designer: XU JINJIATechnical Director: XU MINGPEIChoreographer: HU YAORUIStage Manager: XIN SHUTINGCast：ZHANG QI WANG YENONG XU ZIHAO LIU YANAN WANG XUTang Xianzu Adviser: ZHANG FUHAI

    Drama 2016

    Experimental Peking Opera:The Fool

    Her husbands sudden death threw her in the empty house rife with sadness. Suffering from loneliness in her prime due to this sudden loss, her golden moments were fleeting away. Her man left her nothing but a plot of land, his horse and his solumn spirit tablet.Ever since, she never took off her mourning dress and her face was awash with tears every day, in mourning of her beloved. It became such a routine that she kept the mourning hall for three whole months.That persisted until a burst of knock at the door one day. Following that was a mans voice. Looking at each other, he saw the burning passion underneath her makeup. Original Work: ANTON PAVLOVICH CHEKHOVScreenpaly: XIA TIANHENGDirector: ZHU ZHIYUProducer：XU HONGYICast: ZHENG SHUANG WANG XIAOTAO PAN ZIJIANChinese shadow performance：LI HANXIONG LONG JIAJIEArt director：GUO YUMusic editor：GAO YIMINGChinese shadow editor:QIN FENGChinese oper comaser:CHEN PINGYIOrchestrate composer:YANG XIAOHUIPercussion music designer:GUO LEIStagecraft designer: CHEN HAOQIAOLamplight designer:LI HONGYEModelling designer:XIN XIAODANCostume designer:LEI PANChinese shadow designer:YANG XIMAN CAI DINGXIANG

    Drama 2016
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