Expert- National characteristics are the guarantee for local operas to go global
On October 24th in Nanning, Liu Yanjun, the president of the Chinese Minority Drama Association, emphasized the importance of integrating elements of ethnic culture into theatrical performances and productions. He stated, “In drama, every aspect—from music and costumes to stage design—must draw upon national cultural elements, such as unique ways of thinking and aesthetic preferences. The distinct characteristics of ethnic culture enliven drama and deserve special attention and preservation, as they are crucial for local theater’s journey to a global stage.”
A seminar hosted by the Guangxi Drama Theater took place on the same day, where experts and scholars in the field of drama engaged in discussions about the development of local theatrical art.
Ji Guoping, president of the China Modern Drama Research Association, highlighted the international appeal of unique traditional techniques found in Chinese local drama. He shared an impressive anecdote from the 35th International Theatre Institute World Congress held in Spain in 2017, where the classic Guangxi drama segment “Da Gun Chu Xiang” amazed the audience with its stunning stunts, including “changing clothes inside a box” and “backflipping into a box.”
Ma Ye, a researcher at the Chinese Academy of Arts and an expert in drama theory, pointed out the rich cultural heritage of Guangxi that benefits artistic creation. The Zhuang opera “Qian Yun Ya” draws inspiration from local folklore, telling a love story fraught with complications between a serpent man and twin sisters, blending artistic and philosophical value.
“Watching the Cai Diao opera ‘New Liu San Jie’ left a lasting impression on me. The familiar mountain songs instantly brought back memories of the original ‘Liu San Jie,’” remarked Long Hong, president of the Jiangxi Province Drama Association. He noted that cultural heritage deeply resonates with audiences and captivates their hearts.
Lyu Yuzhong, a former first-level inspector at the Ministry of Culture and Tourism’s Arts Division, pointed out that if a local drama form becomes too assimilated by styles like Peking opera or Kunqu, it risks losing its value and significance. While Guangxi may not be the largest province in terms of the number of theatrical genres, he argued that it excels in the preservation and protection of these traditions. The 18 distinct drama forms that thrive today maintain their unique characteristics and individuality. He concluded that the successful experiences gained by the Guangxi Drama Theater in recent years in stage art creation are worth summarizing and promoting.