With great anticipation, the National Ballet of China will re-raise its "Red Lanterns" at the Tianqiao Theatre for three nights (Friday to Sunday) before it tours France, Britain and Italy in October.
Set in a dreary and oppressive feudal mansion in the 1920s, the ballet "Raise the Red Lanterns" portrays the story of a young woman who is forced to give up everything, including personal freedom and love, to become the third mistress of a very powerful lord.
In rich Chinese colors, the production is staged by an internationally renowned crew including director Zhang Yimou, composer Chen Qigang, choreographers Wang Xinpeng and Wang Yuanyuan, set designer Zeng Li and costume designer Jerome Kaplan.
Although National Ballet of China's President Zhao Ruheng has voiced her concerns over the fact that very few agencies offer to sell the "Raise the Red Lanterns," so far the troupe has staged 54 performances of the first version, including Asian tours to Singapore, and China's Macao, Hong Kong and Taiwan.
The box office receipts of more than 9 million yuan (US$108,690) would be considered an enviable figure for most Chinese shows.
The creative crew is confident of presenting a "nearly perfect show" for international audiences.
"We have not stopped revising in the past two years. The dancers have also matured," Zhao said.
Director's elements
Based on Zhang Yimou's award-winning movie of the same title, the ballet was the focus of intense public scrutiny long before its May 2, 2001 premiere at the Tianqiao Theatre.
Viewers did not hesitate to give their comments of the bold attempts made by the troupe within the context of Chinese ballet. They thought highly of director Zhang's distinctive visual stimulation, composer Chen's impressive score and the combination of different Chinese traditional art genres such as Peking Opera and puppetry.
Meanwhile, quite a few concerns have been raised together with the "Red Lanterns."
Since January, artists have gathered in Beijing from the United States, France and Germany to discuss the new version. Zhang still heads the crew.
"Every time he enters the rehearsal room he brings new ideas," Zhao said.
In the new version, Zhang's creation is reflected in many added props. The lord holds a stick which symbolizes his power in the feudal family to light the red lanterns. The third wife takes a suitcase when she just arrives to meet her family.
The most impressive use of props is when Zhang sets a standing mirror for the second wife in the third act.
She makes up before the mirror carefully and happily so as to gain the lord's favour, after she informs him of the third wife's clandestine affair. However, she only succeeds in infuriating him.
In the mirror she only sees the first wife's freezing irony, the lord's outrage and her own warped mentality. She goes insane.
Stronger choreography
The choreography was said to be the weakest element in the old version. Many critics complained that the dances were lacklustre and few of the solos or pas de deux left a strong impression.
Others complained that the first version failed in terms of characterization, and lacked vivid and clear-cut roles that displayed distinctive emotion.
However, it does not mean choreographer Wang Xinpeng did not manage to create a few graceful dances. He was just overshadowed by Zhang's controlling of the stage. The complex show did not give the choreographer enough space to display the talent at his disposal.
Another factor was the lack of time. Although the preparation for the first version started in 1999, Wang took up choreography only three months before its debut.
"I had wished to finish the whole ballet in advance, then leave it alone for at least three months, so that I could go back and improve it based on more objective reflection," said he.
Two years have passed, giving Wang ample time to present an impressive choreography for the clearer-cut roles.
Meanwhile, the audience can expect more from Wang Yuanyuan, assistant choreographer in the first version who contributed some group dances and solos for the first and second wives.
Early this year, Wang finished her graduate studies at the California Institute of the Arts School of Dance and signed a contract with the National Ballet to be choreographer-in-residence.
In the new version, she emphasizes the solitude of the second and third wives, the mental torment and experiences within the insane household, and the twisted relationships between all of the characters living under the roof.
"The three women display three types of personalities which induce different tragic love stories. We can still find similar stories today," said Wang.
Climactic scenes
The two choreographers also worked together to enhance two eye-catching scenes: the mah-jong game in the middle of the production, and the last scene when the third wife and her lover are punished to death with the second wife.
In the old version, the mah-jong scene designed by director Zhang wasn't very popular among the viewers. Some even said it just turned the stage into a noisy mess.
The new version tries to incorporate the scene into a natural and important component of the show.
In the first version, the family members dance around nine mah-jong tables, which first stand on the stage separately and then unite to form a large square. It was designed as a happy family party and offered a chance for the two lovers to secretly meet.
Now, the eight tables stand in one line at the back of the stage, around which the family members dance. In the front, the lord, the second wife, the third wife and her lover dance around one table. The choreography for the four main roles stresses the relationship among them, as well as their schemes against each other.
Wang Yuanyuan said she got the inspiration from the original novel written by Su Tong. When the family plays mah-jong, a mah-jong tile falls to the ground. The second wife bends to pick it and catches sight of the third wife putting her leg on her lover.
Playing mah-jiong as a traditional Chinese game also creates a perfect scene to display people's personalities and relationships, according to Wang.
The last scene, for which Chen has added new music, is expected to be the climax.
Facing death, the second wife, the third wife and her lover have a touching and impressive pas de trois. The jealous second wife finally realizes they are all victims and begs for the lovers' forgiveness.
The scene in the new version is more natural and reasonable than the old one, as it allows time for the lovers to forgive the second wife. Wang Yuanyuan also added a group dance here which she said displays their souls dancing in heaven.
Dancers and composer
Dancers are the first ones to notice the changes.
"The first version was a little easier for me, not as tiresome as some classics," said Zhu Yan, who portrays the third wife.
"Physically, we are more tired this time, but the choreography offers us more space to portray the roles," said Sun Jie, who plays the lover of the third wife.
In the first version, composer Chen won considerable praise for his score, which features both contemporary techniques and traditional Chinese genres. But he was not so satisfied with the production.
Just like the choreographers, he also had little time to achieve perfection. Before Chen came to Beijing for the rehearsal, his original score had been adjusted for the choreography, posing a minor but uncomfortable problem.
"The choreography and my music in the first version were separate. It seemed the choreography failed to sense the music while my music did not understand the story," Chen said.
When asked about how the European audience would receive the new show, the Paris-based composer is not so sure.
"Due to different cultures and educational backgrounds, French audiences might be more critical than the Chinese regarding ballet," said Chen.
Some conservative critics might find it hard to appreciate a show so greatly different from a so-called classical production, said Chen.
Having closely tailored the music following the story this time, Chen feels like when he first listened to Yo Yo Ma's cello.
"It's a perfect moment for a composer," he said.
Address: Tianqiao Theater, No.30 Beiwei Road, Xuanwu District, Beijing
Bus Route: 59, 110, 120.
(China Daily August 6, 2003)
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