Chinese Dramas Prosper in the U.S.
Vitality from Innovation
Although some believe that sticking to tradition is the future of Chinese dramas, other people advocate innovation by adding modern elements.
“What we need is balance. Historically, Chinese operas have always been changing and improving. Once the process stops, it will perish,” Susan said. “Japanese kabuki is an example. Over-protection of kabuki means that no one dares to break from tradition, the art stops innovating and gradually loses its vitality. As a result, many young audiences are not interested in kabuki.”
According to Susan, Chinese operas keep advancing, finding a balance between tradition and modernization. Many traditional theatrical pieces have been well preserved, and there are also many new operas. Some new operas maintain traditional elements, and vice versa. Although innovation is important, Chinese audiences respect tradition and cherish the characteristics of Chinese operas.
“It is the concision of Chinese operas that gives them charm,” said Susan. “Although the props are simple, Chinese operas can be very versatile.” The feature of Sichuan Opera’s gaoqiang combines an auxiliary chorus, gongs and drums, as well as vocals. The combination can create a beautiful melody. “Jazz music used to be similar, but it has since lost its character by adding string instruments. Although it is worth trying new things, we need to preserve unique features,” Susan said.
Susan appreciates the interaction between new dramas and new audiences. “To follow tradition is to pay respect to the masters. However, even masters want to keep innovating. Sometimes audiences like to see the same old performance, but artists prefer to challenge themselves. Therefore, I think it is great if innovations can resonate among a new generation of viewers,” Susan said.
Integrating with American Culture
Some amateur performers set up performance clubs after migrating to the U.S. As early as the 19th century, immigrant Chinese laborers brought their traditional opera culture to the U.S. Some immigrants funded tours for drama troupes from Guangdong to perform in the U.S., and sometimes amateur performers took the stage as well.
Later, as more Chinese arrived in the U.S., theatrical troupes were established in America. Los Angeles has many troupes performing Cantonese Opera, Peking Opera, Kunqu Opera, and Sichuan Opera. With the help of volunteers, some professional artists came to perform here or even immigrated to the U.S.
Susan and Hua Wenyi, a famous performer of Kunqu Opera, established the first Chinese opera company in America, helping new migrants to perform. “The company gathers professional artists in the U.S. Interestingly, many of them come from the same opera institute or troupe, and know each other well. As a result, it is easy to organize a high-level performance,” Susan said.
Susan especially likes Kunqu Opera, an artistic form combining singing and dancing, which is a uniquely charming performing art among Chinese operas. Performers can skillfully adapt their facial expressions and body language to express scenes, such as a mountain far away or someone weeping. “These elements in traditional Chinese operas are great. Chinese parents should provide conditions for their children to learn. Moreover, the government should subsidize more projects so that children can learn during their spare time.”
Susan hopes to cooperate more with Hua Wenyi, as the U.S. government already regards Kunqu Opera as a performance art form.
Part of an Extracurricular Program
Language barriers can hinder communication between Chinese and Western dramas. Susan believes that this problem is not unsolvable. She once watched a Chinese drama about the Generals of the Yang Family when she visited Beijing. The drama tells the story of an old mother whose sons all died in battle, and her daughters and daughters-in-law also had to fight. Although the show was only 40 minutes long, it tells of a complete family tragedy.
Amazed by this performance, Susan translated it into English. When the play was shown in the U.S., some audiences wept for the mother’s misfortune. “If it is poorly translated or the audiences do not know how to appreciate the performance, then there won’t be such good results,” said Susan, who believes that English translation should reveal the romantic charm of the Chinese original as much as possible. If the Chinese is conveyed as poetry, then the English should adopt the same form. Only in this way can Western audiences have the same experience as Chinese viewers. This is the crux of the challenge.
