Shadow over a ‘multi-cultured’ China.doc

Chinese arts: at the crossroads By Gong Yidong (China Features) In the eyes of Beijing woman Cui Yunshan, 27, and her husband Guan Wei, 26, frequenting cultural activities is “an interesting lifestyle”, or even a potential target for market exploration. This young couple sees at least three or four performances each weekend. But for the 51-year-old director of the National Theatre Company of China (NTCC), Wang Xiaoying, the impulse to examine the human soul has been his primary driving force since the early 1980s. China’s arts have witnessed a significant change since the country set out on the path of reform and opening up in 1978. Despite the seemingly flourishing garden that “lets one hundred flowers bloom”, critics have voiced both doubts and hopes about the future of the arts. Born into a family of traditional opera performers in 1957, Wang was exposed to the arts at a very young age. After four years with a local performing arts troupe in southern Anhui Province, he abandoned his admittance to Anhui Institute of Technology in preference for the Central Academy of Drama (CAD) in 1979. “My intuition told me that my life would be devoted to the arts.” Wang and his 19 classmates, the first batch of directing majors since the Cultural Revolution ended in 1976, were strictly trained under the drama system adopted from the Soviet Union. “On the whole, it followed the traditional line: the arts are a tool to reflect reality and serve social needs.” In his third year, Wang sensed a change, both in society and on campus. “We had the chance to read Western works, notably the absurd theater lead by Samuel Beckett and epic theater led by Bertolt Brecht.” The ‘spring breeze of reform’ was stirring across China’s arts world, and artists were experiencing a cultural reawakening that lasted for a full decade. Later, Wang was able to see for himself foreign performances. The young man was deeply moved by a Japanese drama that told of a frog’s adventures on a tree. “It nev