Juxtaposing The Worlds of Mei Lanfang with Farewell my Concubine illustrated what we do as artists. We take a human experience and recreate it in a different form to express something profound and important (the impact of- and power struggles in- human relationships, the state of our society, our personal responsibility in the face of life's trials, etc.). Mei Lanfang’s artistic performances certainly did this. Telling ancient tales he and the other actors portrayed them in a highly stylized fashion. No person truly carried his or her self in real life as Mei and the other actors presented themselves on stage. The use of gestures along with the very particular stage movements were all used to re-form the experience and find a profound moral for the people to take in.
Moreover, Mei Lanfang himself took the human experience of being a woman and reformed it into what was said to be a portrayal of “an ideal woman.” While this, as the point was made, is not cross-dressing in the Western sense it is still seems to this Westerner to be men telling women what ideals they should strive for. Nowhere in the documentary this cultural aspect discussed. I am curious if modern feminism or even Communism’s theoretical social equality has influenced how this ancient and formalized idealization is perceived.
While the training portrayed in Farewell my Concubine was extreme to say the least, it did show how the body is simply a toll for the performing artist. Physical discipline—as well as the mental discipline necessary to achieve that physical fluidity—is of the utmost importance for us as stage artists. Even in Western realism we must always be vigilant that our bodies serve the needs of the role. We may not be using the stylized and grand gestures of Chinese Opera but we need to be just as precise and specific.
Also, I understand and appreciate Mei Lafnag’s family being unhappy with the portrayal of homosexuality in Farewell my Concubine. Still, a human experience was recreated in a different form to express something quite profound. We can debate what the main thrust of the story was. But, for me, one important idea is that we as artists are always a part of our society no matter how we strive to stand away from it and only present our art solely as aesthetic offerings.
Subscribe to:
Post Comments (Atom)
2 comments:
I agree with what PapaDog is saying here on the physical discipline needed for our art.
But how did we as westerners get so lackadaisical in our training?
There are many of us who continually work on our craft to make ourselves better, but there are far many more that will do as little as possible to get to the same point.
You will hear actors complain that rehearsal ran into their 15 minute break. Many will complain they have to work on a Saturday. I am sure there are those in other countries with the same complaints, but I highly doubt this gentleman got to where he was with only 4 hours of practice 5 days a week.
http://www.youtube.com/watch?v=9ms7MGs2Nh8
Specifically, I think it is really important that you brought up the concept of the 'ideal woman' being portrayed. I have always found the perception of gender identification switching interesting and honestly, I love Bejing Opera's performance of women. In Western society, it seems that whenever there is a man dressed like a woman it is in the context of humor. Having worked in Rep Company and with KY Shakes touring children's company, I know there is always one guranteed laugh: men dressed like women. I think it is because there is some unrealistic quality when a man dresses like a woman (at least in my context of children's touring theatre.) But in Bejing Opera, this type of performance is not seen as a comedic tactic. The women are played as honestly as possible and that is why it isn't comedic. But a feminist critic would say exactly what you say: it is an ideal image of a woman; an ideal based on men's thinking. The portrayal is not as realistic as we may think. So why don't I laugh at Bejing Opera?
Post a Comment