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    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

    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

    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

    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

    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

    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
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