Lin, Zhaohua
(Tianjin 1936-) : Regisseur, Direktor Beijing People's Art Theatre
Subjects
Index of Names : China
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Literature : China : Drama and Theatre
Chronology Entries (3)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1989 |
Aufführung von Hamlet von William Shakespeare in der Übersetzung von Li Jianming durch das Beijing ren min yi shu ju yuan (Beijing People's Art Theatre) unter der Regie von Lin Zhaohua und Ren Ming. Lin Zhaohua schreibt 1994 in seinen Program notes : "Hamlet is one of us. In the street, we may pass him without knowing who he is. The thoughts that torture him also torture us everyday. The choice he needs to make is also the one we face every day. 'To be or not to be' is a question of philosophy, but is also a concrete matter, big or small, in our everyday life. 'To be or not to be' : you can choose only one of these alternatives." Er sagt in einem Interview 1997 : "I was always hoping to put Hamlet on the stage ; I liked the loneliness of Hamlet. Moreover, during that period, people lost their vitality completely. Everybody now wanted to make money or to win prizes or lotteries. Only those who can think feel lonely. The lonely Chinese Hamlet was neither a prince who seeks revenge for the sake of justice nor a hero of humanism. What we are facing is ourselves. To face oneself is the most active and braves attitude modern people can possibly assume." Li Ruru : Deeply depressed by the consequences of the June 1989 student demonstration in Tiananmen Square, Lin Zhaohua channeled his reflections on those tragic events and the realities they exposed about contemporary China into an experimental production of Hamlet which he presented in Beijing later that year. Lin's Hamlet was not a Renaissance giant with the sublime mission of rescuing his country and his people from a feudal tyrant. There were no longer heroes or villains in the play, just ordinary Beijing people in the late-twentieth century. |
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| 2 | 1998 |
Aufführung einer Zusammenfügung von San jie mei = Three sisters von Anton Chekhov und Deng dai Geduo = Waiting for Godot von Samuel Beckett im Beijing ren yi shou du ju chang = Capital Theatre des Beijing People's Art Theatre, unter der Regie von Lin Zhaohua. Except for the removal of some scenes and characters, a complete act oft he original Three sisters serves as the main body for an act of the production and, in that act, a number of fragments from Waiting for Godot are inserted. What the audience saw was in effect an alternation of extracts from the two plays. The idea of having Beckett's characters enter Chekhov's play, and 'vice versa', was to connect the contemporary orld of Godot with the historical world of Three sisters. Apart from the actors' double characters, the set design also provided a spatial frame fort he combination. Since the performing area of Three sisters was primarily upstage and that for Godot downstage, the actors playing in both generally switched characters in accordance with the performing areas they occupied. Such an arrangement of the performing areas for the two plays created a space that required the audience to literally view Three sisters through Godot. |
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| 3 | 2004 |
Celebration of the 100th anniversary of the death of Anton Pvlovich Chekhov. The National Theater Company of China presented its first international drama festival, called "Forever Chekhov." Opening with Platonov, Chekhov's little known first play directed by Wang Xiaoying, the month-long festival will also run two versions of The cheery orchard, one directed by Lin Zhaohua and the other produced by the Russian State Academic Youth Theater. Zhao Youliang, president of the National Theater Company of China said : "One is to promote the communication between China's drama circle and our foreign counterparts. The other is to create opportunities for young actors who are the future of the National Theater company of China." Lin Zhaohua, theater director commented : "It is a great shame that China's theaters do not stage Shakespeare and Chekhov." |
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