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The National Ballet of China has proven once again that it is one of the most active and productive Chinese performing arts ensembles working with well-known foreign artists and promoting Chinese ballet.
Following last year's hit production Raise the Red Lantern and the Chinese version of the Nutcracker, and this year's Coppelia, choreographed by renowned Swedish dancer and choreographer Par Isberg, the company is debuting its latest production The Fountain of Tears at the Tianqiao Theatre from today to Sunday.
Rising Ambitions
Choreographer Ben Stevenson, 66, is an old friend of the company, and of Chinese ballet.
"China is my second home," he said.
In 1977, he traveled to China for the first time as part of a Sino-US cultural exchange program.
Ever since then, he has returned almost every year to teach at the Beijing Dance Academy.
In the 1980s, he once choreographed a few programs for the National Ballet of China.
In July 1995, he led the Houston Ballet on a two-week tour to China with performances in Beijing, Shanghai and Shenzhen. Chinese audiences were fascinated by his production of Romeo and Juliet.
"Stevenson is recognized internationally as an exceptional teacher and coach, and we are pleased that he could choreograph The Fountain of Tears for the National Ballet of China," said Zhao Ruheng, president of the company.
However, Stevenson's international credentials are not the only reason that Zhao has selected him. Settling on Stevenson and The Fountain of Tears reveals the troupe's ambition to be a versatile top company in the world.
"Versatile means versatile dancers as well as a variety of repertoires," Zhao said.
Though the company has produced a few successful new works in the recent two decades, the repertoires are still not as rich as some world-class companies.
Meanwhile, old repertoires it staged in the 1960s are dying out. For instance, the company once performed the original Russian version of The Fountain of Tears in 1963 but it has seldom been staged since.
"So when Stevenson advised us to stage The Fountain of Tears, we were happy that he agreed. Revising some old repertoires is one of our two fundamental goals. The other goal is producing new works. This ballet, in one sense, is one of our old repertoires while it can also be a wonderful new production," said Zhao.
The talented choreographer is also expected to help nurture the company and its staff in many ways.
"The National Ballet of China usually has a good reputation of having good techniques and our dancers have often won awards in various international competitions, but these dancers lack the experience of acting in a full-length ballet, in other words, they don't know much about how to portray a character besides dancing," said Zhao.
"Stevenson is the very person we need. He is a master of dramatic ballet, a master of acting. We invited him to choreograph the ballet because we hope he could teach the dancers how to act besides dancing, and he has actually done very well."
Sun Jie, the principle dancer of the company, performs as Khan in The Fountain of Tears. He agreed with Zhao and said: "Different choreographers bring different styles and ideas, which benefit the dancers' growth. A new work does not only enrich our repertoire but helps us to explore more styles and trends.
"The most significant thing Stevenson taught young dancers is how to act rather than how to dance."
More Than Just Steps
"Choreography is not just steps but should help to express the story especially the dramatic ballet such as The Fountain of Tears," Stevenson explains.
"So for me the most important thing is personality of the role instead of the steps or techniques. Of course, the step is important, but since all the companies and dancers have paid much attention to the techniques, I never worry about it."
Whoever he works with, Stevenson said he first emphasizes how to act.
But some young dancers don't take to that very well initially.
"They thought me crazy and strange and were very slow to know what I wanted," said Stevenson.
"Gradually I learned that Chinese people are more reserved and many ladies are shy. (This) prevents them from acting out but they came to understand my mind day by day," he said.
Through nine and a half weeks of work, the young dancers have well received his concepts and have worked on it in the ballet.
Zhu Yan, who plays Zarema in the ballet, said: "At first, he appeared very different from other international teachers and choreographers we met. But now we are thrilled to have access to his extraordinary talents. He knows how to inspire us to be open and to express the role's subtle emotions through the steps."
Stevenson said he is also very satisfied with the work of the young Chinese dancers. They are all dazzling dancers and a credit to the company, he said.
He especially praised dancer Zhang Jian, whom he met in 1997 when Zhang won the Moscow International Ballet Competition where Stevenson was a member of the jury. He then invited her to dance with the Houston Ballet for a year.
"She is utterly beautiful, lyrical and dramatically convincing in the role of Maria. She portrays Maria's change of mind well, from an innocent girl to depressed woman who loses her lover and is captured, to finally a mature woman who forgives Khan."
Zhang Jian also has high praise for her coach.
"While working, he is very expressive. In one second he is the strong and cool Khan and in the other he turns into the pretty and charming Maria, even though he does not have a slender figure," Zhang said laughing.
Stevenson also praised Zhu's portrayal which he said is passionate and strong.
"The role is even more difficult than Maria but Zhu does a perfect job," he said.
Stevenson is reluctant to leave the company just before the ballet is finally staged.
"It is good experience for me to work with them. Though the start (was) difficult I have felt something happen between us and I hope I could come back again," he said.
(China Daily October 10, 2002)
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