Amateur drama struggles without funds
SIX years ago, Tang Ning and six other young professionals took part in a performance of the drama "Pink Lady," about the life of modern-day young professionals. That show at the Youth Center of the People's Square Neighborhood was the beginning of Tang's second career, amateur acting, after his logistics job. During these years, this amateur drama group, City Origin, has grown up to have 200 to 300 members.
Most of them are post-1980s, working in different industries, without professional performance background. At the end of last year, their original play "Orchid Blooming in Queen Street" participated in Shanghai International Arts Festival, staged at Shanghai Starlight Theater in November and Shanghai Drama Arts Center in December. "Orchid" tells the story of hai gui (overseas returnees), Chinese who live and study abroad, experience ups and downs and finally return to China. And then there are issues when they get back and try to fit in. "To create this script, the group interviewed many young people with overseas living experience and spent several months to collect materials," says Tang. Over 500 people watched the show and the small group began to make a name for itself. Some of its members are overseas Chinese, some are locals who lived or studied abroad. "We have passion for art and life, we are creative and responsible and we want to do something special in our daily life," Tang says. Many City Origin plays are based on trending social issues, such as career struggles, social reality and living overseas. Its works include "Struggle Is Gold" (2007), "Open Heart 2010" (2008), "Domino, Silence" (2009), "Haipai (Shanghai style) Searing Hotpot", (2009) "Spectator" (2009) and "For This Day" (2010). Last year it staged the mini-opera "Liberation," "Anyhow," "Orchid Blooming in Queen Street" and "Doomsday Chimera.
" Some of their shows have been staged at mainstream venues such as the Shanghai Grand Theater, Shanghai Concert Hall, Shanghai Drama Arts Center, and community culture centers. The audience ! comes fr om many sectors, including professionals and government officials. "Compared with professional troupes, we have to perform, create and market. But sometimes our themes and our performances are closer to real life than those of professional troupes," Tang says. The group is now receiving training from the Shanghai Film Studio to improve their body language and Tang says he hopes to do it regularly in the future. "Everyone has his or her own stage and has the right to pursue and realize their stage dream," says famous local director Yu Manwen, who founded independent drama studio Ze-Ren. Her "Mahjong Women's Hearts" staged 11 performances at the Shanghai Grand Theater last November. Amateur theater can be more creative and adventurous, Yu says, since it doesn't have major marketing and other issues facing larger, wealthier troupes. Shanghai is home to about 10 amateur theatrical troupes, such as Ta-Yao.
The group celebrated its first anniversary at Down Stream Garage with shows on the past two weekends. The troupe has four performance seasons - winter, spring, summer and autumn. Some plays are adapted from Chinese literature, such as Cao Yu's "Family." Some are original, such as "I Am Peter Pan II" and "9th Heaven." Ta-Yao was founded in January 2011 and began rehearsals in April. The cast and staff are drawn from former theater studio 802 that performed from 2001 to 2010. The name of the group Ta-Yao is drawn from ta yao niang, a singing and dance form popular in the Tang Dynasty (AD 618-907), which is considered a precursor of drama in China. "We use this name to represent our ambition to represent our ambition to produce original and true dramatic works, works without bad habits in today's dramas," says founder Tian Chenming. Tian is a post-1980s generation working as a freelancer in drama work and a songwriter. He also wrote a song for "I Am Peter Pan II."
The troupe has around 20 members, aged from 20 to 30 years old. Around half are college students. Ta-Yao has staged as many as 30 performances, mos! tly free . Notable works include "I Am Peter Pan II" and "9th Heaven." Most works tell love stories. "We are trying to communicate with our audience through the drama, but not just catering for them. Our works are spreading power of positive energy, love and warmth," Tian says of the troupe. Unlike City Origin, Ta-Yao chooses Down Stream Garage as their main performing venue. The place is a famous underground theater, sometimes called "Broadway in a warehouse." Unlike most venues, admission is free. "This venue has its own audience. They know and love theater," Tian says, describing a mix of college students, young professionals and middle-aged drama lovers. City Origin has staged more than 30 performances for free, especially in community culture centers. "We don't want the drama lovers come to feel the pressure of admission tickets.
We don't want to run our troupe under the pressure of earning money," Tang says. Funding comes from sponsors and government support. Some foundations have expressed interest as well, Tang says. "At the beginning, all the costs were shared among members," he says. "Now we have more guarantees of funding. But few troupes of this kind can exist for long on their own. We need official government support." Changes in Chinese society provide endless inspiration for playwrights, he says. Ta-Yao's income comes from performances (very little) and from donations by drama lovers and friends of members. "To support a group of this kind is really hard. That's also why so many amateur groups close down in a short time," Tian says. If amateur theater hopes to survive and become more professional, it will need funding and other support, as well as bigger audiences, according to Yu Rongjun, noted playwright with the Shanghai Drama Arts Center. "The culture of Shanghai needs different voices. Different theater groups have their own survival space, and each of them seeks for more audiences to join in," says Yu.
Expat amateur theatersBesides Chinese amateur drama groups, there are also some troupes wit! h intern ational background in Shanghai, mostly consisting of expats living here. ? The French TheatreThe French Theatre troupe has been presenting on stage for the last 12 years in Shanghai, founded by French playwright and director Victor Guilbert. There are 14 members, from different backgrounds, theatre experiences and nationalities including French, Tcheckoslovakian and Chinese. They are all theatre lovers and volunteers in this adventure to put on a show every year for the francophone community. Last month a comedy play "The Technique of Doctor Pilou" was at the Theater of Shanghai Normal University.
The play is directed by Guilbert himself and Melanie Vidal.? East West TheaterEast West Theater is the longest-running English-language theater group in Shanghai. It is dedicated to sharing high standard English-language drama with the Shanghai arts and culture community. The theater aims to produce high-quality performance art for the English-speaking community in Shanghai and to provide a platform for enthusiasm, participation, dedication and friendship?
Shanghai Repertory TheaterSRT was founded in late 2009 by Rosita Janbakhsh and has an energetic creative team from across the globe - the UK, Belgium, the United States, Australia, Spain, China, Slovenia, Germany, Brazil, Austria, and France. It has a diverse repertoire, performing works ranging from Eugene Ionesco to Dickens to Shakespeare, and all points in between. ? People's Republic of Comedy (PRC)This is Shanghai's leading improv comedy troupe, creating an entirely original live performance each show based entirely on suggestions from the audience. Every other Wednesday's night from 9pm to 11pm, they give a two-hour show at Malone's American Caf on Tongren Road. With 50 yuan, you can get in to enjoy the show and get one drink. The group meets every week to create new things and rehearsal. The two-year-old troupe has up to 150 regular audiences, mostly are foreigners.
Most of them are post-1980s, working in different industries, without professional performance background. At the end of last year, their original play "Orchid Blooming in Queen Street" participated in Shanghai International Arts Festival, staged at Shanghai Starlight Theater in November and Shanghai Drama Arts Center in December. "Orchid" tells the story of hai gui (overseas returnees), Chinese who live and study abroad, experience ups and downs and finally return to China. And then there are issues when they get back and try to fit in. "To create this script, the group interviewed many young people with overseas living experience and spent several months to collect materials," says Tang. Over 500 people watched the show and the small group began to make a name for itself. Some of its members are overseas Chinese, some are locals who lived or studied abroad. "We have passion for art and life, we are creative and responsible and we want to do something special in our daily life," Tang says. Many City Origin plays are based on trending social issues, such as career struggles, social reality and living overseas. Its works include "Struggle Is Gold" (2007), "Open Heart 2010" (2008), "Domino, Silence" (2009), "Haipai (Shanghai style) Searing Hotpot", (2009) "Spectator" (2009) and "For This Day" (2010). Last year it staged the mini-opera "Liberation," "Anyhow," "Orchid Blooming in Queen Street" and "Doomsday Chimera.
" Some of their shows have been staged at mainstream venues such as the Shanghai Grand Theater, Shanghai Concert Hall, Shanghai Drama Arts Center, and community culture centers. The audience ! comes fr om many sectors, including professionals and government officials. "Compared with professional troupes, we have to perform, create and market. But sometimes our themes and our performances are closer to real life than those of professional troupes," Tang says. The group is now receiving training from the Shanghai Film Studio to improve their body language and Tang says he hopes to do it regularly in the future. "Everyone has his or her own stage and has the right to pursue and realize their stage dream," says famous local director Yu Manwen, who founded independent drama studio Ze-Ren. Her "Mahjong Women's Hearts" staged 11 performances at the Shanghai Grand Theater last November. Amateur theater can be more creative and adventurous, Yu says, since it doesn't have major marketing and other issues facing larger, wealthier troupes. Shanghai is home to about 10 amateur theatrical troupes, such as Ta-Yao.
The group celebrated its first anniversary at Down Stream Garage with shows on the past two weekends. The troupe has four performance seasons - winter, spring, summer and autumn. Some plays are adapted from Chinese literature, such as Cao Yu's "Family." Some are original, such as "I Am Peter Pan II" and "9th Heaven." Ta-Yao was founded in January 2011 and began rehearsals in April. The cast and staff are drawn from former theater studio 802 that performed from 2001 to 2010. The name of the group Ta-Yao is drawn from ta yao niang, a singing and dance form popular in the Tang Dynasty (AD 618-907), which is considered a precursor of drama in China. "We use this name to represent our ambition to represent our ambition to produce original and true dramatic works, works without bad habits in today's dramas," says founder Tian Chenming. Tian is a post-1980s generation working as a freelancer in drama work and a songwriter. He also wrote a song for "I Am Peter Pan II."
The troupe has around 20 members, aged from 20 to 30 years old. Around half are college students. Ta-Yao has staged as many as 30 performances, mos! tly free . Notable works include "I Am Peter Pan II" and "9th Heaven." Most works tell love stories. "We are trying to communicate with our audience through the drama, but not just catering for them. Our works are spreading power of positive energy, love and warmth," Tian says of the troupe. Unlike City Origin, Ta-Yao chooses Down Stream Garage as their main performing venue. The place is a famous underground theater, sometimes called "Broadway in a warehouse." Unlike most venues, admission is free. "This venue has its own audience. They know and love theater," Tian says, describing a mix of college students, young professionals and middle-aged drama lovers. City Origin has staged more than 30 performances for free, especially in community culture centers. "We don't want the drama lovers come to feel the pressure of admission tickets.
We don't want to run our troupe under the pressure of earning money," Tang says. Funding comes from sponsors and government support. Some foundations have expressed interest as well, Tang says. "At the beginning, all the costs were shared among members," he says. "Now we have more guarantees of funding. But few troupes of this kind can exist for long on their own. We need official government support." Changes in Chinese society provide endless inspiration for playwrights, he says. Ta-Yao's income comes from performances (very little) and from donations by drama lovers and friends of members. "To support a group of this kind is really hard. That's also why so many amateur groups close down in a short time," Tian says. If amateur theater hopes to survive and become more professional, it will need funding and other support, as well as bigger audiences, according to Yu Rongjun, noted playwright with the Shanghai Drama Arts Center. "The culture of Shanghai needs different voices. Different theater groups have their own survival space, and each of them seeks for more audiences to join in," says Yu.
Expat amateur theatersBesides Chinese amateur drama groups, there are also some troupes wit! h intern ational background in Shanghai, mostly consisting of expats living here. ? The French TheatreThe French Theatre troupe has been presenting on stage for the last 12 years in Shanghai, founded by French playwright and director Victor Guilbert. There are 14 members, from different backgrounds, theatre experiences and nationalities including French, Tcheckoslovakian and Chinese. They are all theatre lovers and volunteers in this adventure to put on a show every year for the francophone community. Last month a comedy play "The Technique of Doctor Pilou" was at the Theater of Shanghai Normal University.
The play is directed by Guilbert himself and Melanie Vidal.? East West TheaterEast West Theater is the longest-running English-language theater group in Shanghai. It is dedicated to sharing high standard English-language drama with the Shanghai arts and culture community. The theater aims to produce high-quality performance art for the English-speaking community in Shanghai and to provide a platform for enthusiasm, participation, dedication and friendship?
Shanghai Repertory TheaterSRT was founded in late 2009 by Rosita Janbakhsh and has an energetic creative team from across the globe - the UK, Belgium, the United States, Australia, Spain, China, Slovenia, Germany, Brazil, Austria, and France. It has a diverse repertoire, performing works ranging from Eugene Ionesco to Dickens to Shakespeare, and all points in between. ? People's Republic of Comedy (PRC)This is Shanghai's leading improv comedy troupe, creating an entirely original live performance each show based entirely on suggestions from the audience. Every other Wednesday's night from 9pm to 11pm, they give a two-hour show at Malone's American Caf on Tongren Road. With 50 yuan, you can get in to enjoy the show and get one drink. The group meets every week to create new things and rehearsal. The two-year-old troupe has up to 150 regular audiences, mostly are foreigners.
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