Most performing arts companies based in Beijing do not have a regular schedule or home venue, and must struggle on in the face of underfunding and a lack of loyal fans.
But the National Peking Opera Company is trying to overcome the many hurdles on the road to success. Under the direction of President Wu Jiang, the China National Peking Opera Company has established three short seasons a year May, October and during the New Year holidays.
With the opening of the Experimental Theater in its recently-built office complex last month and the opening of the new Grand Mei Lanfang Theater in December, the National Peking Opera Company will soon boast a year-round season in its own theaters.
Wu is currently preparing for the coming New Year season, which features 29 shows in four venues.
"We hope to present a best ever series of shows to usher in the New Year," said the 56-year-old company director. "The season should be a feast for our loyal fans."
Since he was appointed president of the National Peking Opera Company in April 2000, Wu has dreamt of having a regular season and venue. With these goals reached, the ambitious president is eyeing the international market.
After touring the United States for the Festival of China presented by the Kennedy Center in Washington DC in October, Wu is getting ready to wow audiences at the Lincoln Center in New York and in Las Vegas, Nevada, next year.
If all goes to plan, Wu is considering sending an ensemble to Las Vegas with a view to giving daily performances.
"I hope Peking Opera can have a position in the world's biggest entertainment city," said Wu.
In Chinese, Peking Opera is called Jing Ju. "In my opinion, 'Jing' is not 'Beijing' but 'the capital,' extended to the nation, so 'Jing Ju' is not the opera of Beijing, but the national standard art," said Wu, who majored in Chinese literature at Peking University.
Wu believes Peking Opera is a sort of national melody that can remind Chinese people living abroad of their motherland. Wherever the company tours overseas, there is always a large number of Chinese eager to secure tickets.
But closer to home, Peking Opera, like many other traditional art genres, is being beaten out by film, TV, pop music, contemporary theater and many other types of entertainment.
When Wu took up his leading position, the National Peking Opera Theater gave fewer than 100 shows per year without trying new productions, mostly reviving old repertory. Above all, the company was burdened with a debt of 4 million yuan (US$493,000).
Despite warnings from friends, Wu decided to accept the challenge of turning things round. He had three philosophies in mind inheriting tradition while innovating, discovering and training talent for tomorrow, and promoting Peking Opera to a wider audience.
"About 20 years ago, I wore Zhongshan Zhuang (Chinese tunic suit), and now it is still my favorite Chinese tunic. But the cut and choice of colors has been expanded," the president said, drawing a parallel with Peking Opera.
"Without innovation and progress, Peking Opera could not live tomorrow. We must make it contemporary, borrowing the best from other art forms to improve the old art. This is also the way to attract today's audience," said Wu.
Under his direction, the company has produced 16 new plays and revived nearly 100 classics over the last five years, blending aspects of different kinds of art.
"Imperial Envoy 'Bony Horse'" (Shou Ma Yu Shi) is adapted from a Dianju repertory, folk opera from Yunnan Province; "Princess Wencheng" borrows the tunes of a Tibetan opera, "Turandot" tells the story of Puccini's well-known opera of the same title; and the classical play "Female Generals of the Yang Family" (Yangmen Nujiang) has been staged once more in collaboration with a symphony orchestra.
Wu likes to invite famous theater directors and playwrights from outside the genre to participate in some way, to diversify the approaches he uses.
To cater to a contemporary theater audience, especially the younger generation, the company shows off the most amazing costumes, high-tech sets and multi-media effects.
Every year, the company recruits fresh talent from folk opera schools and other smaller-scale ensembles. The young starlets receive further training and rehearsal time with respected veteran artists, and appear in special shows to enrich their experience of performing on stage.
Many young talented actresses have progressed on their route, including Deng Min and Zhang Huoding. Established performers such as Li Shengsu and Yu Kuizhi have recently reached fresh career peaks.
The improvements on the artistic side have gradually helped solve the financial problems.
Although government funding has risen from 2.7 million yuan (US$330,000) to 9.98 million yuan (US$1.2 million), it is not enough to cover the annual expenses of 30 million yuan (US$3.7 million). The shortfall is made up by box office revenue from 300 or so shows a year, as well as by donations.
In 2003, the company built a sets and props base in the eastern suburbs of Beijing. Covering 2,600 square meters, the facilities consist of three warehouses in which to store sets, props, costumes, lighting and sound equipment and four workshops in which to produce new hardware.
(China Daily December 12, 2005)
