{"id":743,"date":"2024-12-09T15:52:38","date_gmt":"2024-12-09T15:52:38","guid":{"rendered":"https:\/\/www.critical-stages.org\/30\/?p=743"},"modified":"2024-12-22T10:51:53","modified_gmt":"2024-12-22T10:51:53","slug":"chinese-theatre-goes-where-people-go-interview-with-meng-jinghui","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/30\/chinese-theatre-goes-where-people-go-interview-with-meng-jinghui\/","title":{"rendered":"\u201cChinese theatre goes where people go\u201d: Interview with Meng Jinghui"},"content":{"rendered":"\n

by Peng Tao<\/strong>*<\/a>, Zhu Ning<\/strong>**<\/a>, and Savas Patsalidis<\/strong>***<\/a><\/p>\n\n\n\n

The interview took place via Zoom on October 27, 2024, just one day before the conclusion of the 11th<\/sup> edition of the International Wuzhen Theatre Festival. The participants included Professors Peng Tao, Zhu Ning, and Savas Patsalidis, while the interviewee was Meng Jinghui, one of the festival’s artistic directors.<\/em> LI Huayi Directrice of International Project and Assistant of Mr. Meng helped with the translation of Chinese into English.<\/em><\/p>\n\n\n\n

MENG Jinghui is a renowned stage director and artistic director. As the head of the Meng Jinghui Theatre Studio, founded in 2009, he has also served as the director of several theatre festivals.  Meng Jinghui is best known for his innovative approach to contemporary theatre, and his works have aroused considerable attention for their diverse styles and their deep resonance with audiences. His productions have played a major role in shaping contemporary Chinese culture and the arts. Among his most celebrated works, Rhinoceros in Love<\/em> has been performed over 2,800 times since its debut in 1999 and is considered the modern-day treatise on love in China. Expanding his reach internationally, Meng staged Teahouse<\/em> at the Festival d’Avignon in 2019 and The Seventh Day<\/em> in 2022, both by invitation.<\/p>\n\n\n\n

Savas Patsalidis<\/strong>: Hello everyone in China! We all send you greetings from Europe. Now that the Wuzhen festival has reached its eleventh year, it is a good opportunity for us to meet, even if only virtually, and discuss various topics related to the festival, what it has achieved, what it has left behind over this decade, and what plans it has for the next one, which it launched this year. I would like to start by asking Mrs. Zhu Ning to give us a brief introduction, and then we\u2019ll begin our discussion with Mr. Meng shortly. Mrs. Ning, if you please, you may begin.<\/p>\n\n\n\n

Zhu Ning<\/strong>: Thank you, Savas. First, I’d like to introduce Savas to Mr. Meng, who has been a good friend of ours for many years. Savas is the editor-in-chief of Critical Stages<\/em>, the online journal of the International Association of Theatre Critics (IATC), and also Emeritus Professor at Aristotle University in Thessaloniki, Greece.<\/p>\n\n\n\n

I would also like to say a few words of introduction about Mr. Meng, a prominent theatre director who has had a major influence on contemporary theatre in China. His work has left a lasting impression on numerous young people and theatre professionals, both in the past and continuing to this day.<\/p>\n\n\n\n

Mr Meng gained recognition in the theatre world early on, in the 1980s and 1990s, and has continued to make a name for himself.  He has directed numerous stage productions, many of which are still being performed in China today. For many young people visiting Beijing, attending one of his shows has become a must-do experience.<\/p>\n\n\n\n

In addition to his work at the Wuzhen Theatre Festival, Mr. Meng is also the artistic director of the Aranya Theatre Festival, which takes place each June in the north of China by the sea. Besides these two international festivals, he also organizes the Beijing Fringe Festival for young directors, the contemporary Hangzhou Theatre Festival, both held annually, and a biennale theatre festival in Shenzhen.  All these festivals invite international productions.  Mr. Meng regularly oversees two or three new productions each year.<\/p>\n\n\n

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Meng Jinghui. Photo: Courtesy of Meng Jinghui<\/figcaption><\/figure>\n<\/div>\n\n\n

Savas<\/strong>: Thank you, Zhu Ning. As a starter, to open up our discussion, I would like to ask Mr. Meng about his motivation for launching the Wuzhen Festival 11 years ago. Mr. Meng, what inspired you, along with Huang Lei and Stan Lai, to embark on this journey? Was there a specific aspect of Chinese theatre culture that you felt was lacking at the time, or a cultural gap you aimed to address?<\/p>\n\n\n\n

Eleven years ago, the situation and the environment for theatre in China were very different from what they are now. There were many people eager to see how international theatre was developing. In Wuzhen, a small town in southern China, our paths crossed, and together, we felt it could be the ideal place to open a window for both theatre enthusiasts and professionals to peer through and immerse themselves in the world. We wanted them to discover different stage aesthetics, themes and forms of interpretation.<\/p>\n\n\n\n

That’s why we organized a festival with multiple sections, designed not only to showcase established Chinese theatre professionals but also to highlight emerging artists and feature international productions. In other words, we were aiming for a festival that catered to all tastes. Ultimately, our goal was and still is to create a kind of small forest, so to speak, and cultivate it within the larger cultural landscape, giving the trees in this small forest the chance to grow and develop into big trees.<\/p>\n\n\n\n

Savas<\/strong>: As a follow-up to that description, after 11 years of the festival, do you think you\u2019ve succeeded in transforming Wuzhen into a distinctive cultural hub? Would you say that Wuzhen is no longer just a resort city, but also a cultural center? What are your thoughts on that?<\/p>\n\n\n\n

I\u2019d be happy to answer your question. After 11 years of hard work, the most important thing for us is to see a new generation of artists emerging, a fresh, growing force within the forest. As for the audience attendance, we\u2019ve had impressive numbers, with many of the attendees under the age of 30. It’s a great pleasure for us to host this young crowd, give them a taste of international theatre and show them how it\u2019s evolving. At the same time, we want to offer our international guests a deeper understanding of our theatre world, helping to strengthen the cultural exchange between China and the global theatre community.<\/p>\n\n\n

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Teahouse, <\/em>directed by Meng Jinghui.<\/em> Courtesy of Meng Jinghui and Wuzhen Festival<\/figcaption><\/figure>\n<\/div>\n\n\n

Savas<\/strong>: You\u2019ve mentioned young people and young audiences a lot, which I find really interesting. I understand from your program and the platform you offer to young artists that this is a very important part of your festival\u2019s vision. Would you like to say more about that? Zhu Ning, I\u2019d like to turn to you on this topic as well, since we discussed it earlier, off the record. Could you consider the question and share your thoughts?<\/p>\n\n\n\n

Zhu Ning<\/strong>: Yes, it is true, we actually discussed this before director Meng Jinghui came, and we found it particularly interesting.  So my questions now are the following: why do we have an Emerging Theatre Artists’ Competition at the Wuzhen Theatre Festival, what is the role of the Emerging Theatre Artists’ Competition, and how many applications does the festival receive each year? As one of the judges of the Emerging Theatre Artists’ Competition, you actually have to make a choice when selecting the productions, so what do you look for most in the productions?<\/p>\n\n\n\n

I have to clarify a small fact before answering: I\u2019m not one of the judges for the Emerging Theatre Artists\u2019 Competition. The most important rule of this emerging competition is that each year we select 18 young directors and ask them to present their work in a 30-minute presentation at the Wuzhen Theatre Festival. We usually receive around 700 applications from all over China, and we choose only 18.  Selecting these participants is a demanding process. After a week of competition, we invite six of those 18 to participate in the final round. The theme of the competition consists of three words selected by the festival’s artistic directors. These words may represent an object, an action or a quality.<\/p>\n\n\n\n

Additionally, the stage setup is part of the rules: only one table and two chairs are allowed. The directors then present their works on this minimalist stage. Each year, we offer different awards, such as the Premier Award, an Acting Award and a Best Text Award. But the real aim behind all of this, as I\u2019ve mentioned before, is to give these young artists a platform, an opportunity to shine and showcase their achievements. Through this festival, we attract the most active and creative young directors from all over China, bringing them together in Wuzhen to present their art.<\/p>\n\n\n\n

Savas<\/strong>: May I ask a follow-up question, based on what you\u2019ve just said? Do you feel that many of the young artists you’ve worked with through this program have lived up to your expectations? Are you satisfied with how the program is evolving, or is there anything you\u2019d like to change?<\/p>\n\n\n\n

I\u2019m very pleased and satisfied to see the winners of these competitions growing and maturing over time. Many of them are gaining recognition and attention, touring and showing their work across China, collaborating with other artists. I\u2019m happy to see them expand and develop. For example, the winners from ten years ago, Chen Minghao and Su Xiaogang, have become significant figures in Chinese theatre, particularly in contemporary theatre. Many young artists look up to them and emulate their work.<\/p>\n\n\n\n

Zhu Ning<\/strong>: Yes, that\u2019s quite true and very telling.<\/p>\n\n\n\n

Savas<\/strong>: Mr Meng, I am a little bit curious; when you first start selecting the young directors, what are the key criteria you look for?<\/p>\n\n\n\n

There are two main factors we consider very carefully, which are diversity <\/em>and imagination<\/em>.<\/p>\n\n\n\n

Savas<\/strong>: That ties into the question that Zhu Ning asked earlier about the selection process. Zhu Ning, would you like to add anything?<\/p>\n\n\n\n

Zhu Ning<\/strong>: Actually, I think Mr. Meng has answered my question. But I have another question about the new generation. Mr. Meng, you\u2019re also the artistic director of a Beijing Fringe Theatre Festival, and you\u2019re deeply involved in projects aimed at supporting young artists. As a successful theatre director, why do you invest so much energy in organizing these works and helping young artists mature in their craft?<\/p>\n\n\n\n

Well, I definitely prefer being a director to an organizer because in the rehearsal room there\u2019s so much creative energy. When I was younger, I used to say to my friends, \u201cBig dogs bark, and small dogs bark too. Some might bark like a big dog even though they\u2019re small.\u201d As artists, we have an obligation to create our own unique worlds. In the vast landscape of the theatre, there\u2019s not just the text, acting, and aesthetics, but also the administration, audience engagement, and the need to find imaginative solutions to economic problems so that theatre is sustainable. It\u2019s a demanding but absolutely necessary task, especially in today\u2019s changing market economy.<\/p>\n\n\n

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Fox Angel, <\/em>directed by Meng Jinghui. Photo: Courtesy of Meng Jinghui <\/em>and Wuzhen Festival<\/figcaption><\/figure>\n<\/div>\n\n\n

Savas<\/strong>: May I ask one more question, unless Zhu Ning would like to follow up?  I\u2019ll go ahead now, and Zhu Ning can join in later. There are currently many theatre festivals in China, with new ones emerging every year. How is the Wuzhen Theatre Festival different from others in China, or, to broaden the scope of our discussion, how does Wuzhen compare to international festivals?<\/p>\n\n\n\n

First and foremost, we aim to elevate Wuzhen to a high level. We want it to be a festival that welcomes diverse ideas and perspectives. Our team is constantly exchanging ideas and working on plans to strengthen the festival\u2019s presence both in China and internationally. We strive to create a warm, welcoming atmosphere where visitors and artists feel at home, where they can have a great time not just inside the theatre, but outside it as well. The beautiful setting, the food, the drinks, and the overall charm of Wuzhen all contribute to the experience. We want to create an ecosystem that fosters connections, new friendships and meaningful exchanges.<\/p>\n\n\n

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Einstein\u2019s Dream, <\/em>directed by Meng Jinghui. Photo: Courtesy of Meng Jinghui and  Wuzhen Festival<\/figcaption><\/figure>\n<\/div>\n\n\n

Savas<\/strong>: That’s a great idea, creating an inclusive, friendly, and productive atmosphere. Building on that, I’d like to revisit my earlier question: how significant do you think the Wuzhen Theatre Festival is in shaping the development of Chinese theatre? Does the festival introduce new ideas that influence the position of theatre in China?<\/p>\n\n\n\n

That\u2019s a very good question. To be honest, when we\u2019re in Beijing watching some Chinese productions, we\u2019re often not very satisfied. I don\u2019t understand why there are so many creators out there with little passion or talent for theatre. But to answer your question, I believe change takes time. Right now, we\u2019re still in the early stages of influencing the industry. Let\u2019s put a pause on it for now; we must exercise patience. Change doesn\u2019t occur instantly, but over time, culture will shape everyone and transform the way things develop. It\u2019s like the steady drip of water slowly wearing down a stone: persistent effort leads to success. It may take time, but eventually, progress will leave its mark.<\/p>\n\n\n\n

So, as I reflect on the impact of the festival, I tell myself that we need to be patient. Time will tell if we succeeded, but I\u2019m confident that we are on the right track.<\/p>\n\n\n

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 Linchuan Four Dreams, <\/em>directed by Meng Jinghui. Courtesy of Meng Jinghui and  Wuzhen Festival<\/figcaption><\/figure>\n<\/div>\n\n\n

Savas<\/strong>: Let me ask you one more question, if I may. You’ve been involved with this Festival for a long time. Given your extensive leadership experience, what is your instinctive feeling: do you believe the festival has played a role in increasing global awareness of Chinese theatre? In addition to promoting Chinese culture, do you see the festival as having a vision that reaches beyond China’s borders?<\/p>\n\n\n\n

The most important thing is that contemporary thought and the spirit of our times have created a more creative and inviting environment in which Wuzhen can present Chinese theatre to the world. We also believe that merging with other theatre cultures will benefit everyone involved.<\/p>\n\n\n\n

Savas<\/strong>: I completely agree – intercultural exchange is essential, particularly in today’s world. Staying connected is no longer a choice but a necessity. On the topic of connection, how challenging is it for Chinese productions to reach international audiences?<\/p>\n\n\n\n

It\u2019s very challenging. First of all, we need to capture the attention of international producers, curators and audiences. It\u2019s tough to spark interest, but it\u2019s crucial to provide access to the international community, so that they are open to experience and can appreciate the unique aspects of Chinese theatre.<\/p>\n\n\n\n

 Another key point is that we need a common language, a shared understanding, to communicate and build connections for the future. Crossing borders and cultures is never easy. It requires deep knowledge of our own society, history, people and beliefs. However, it\u2019s becoming a bit easier with the new generation, which is more outward-looking.<\/p>\n\n\n\n

Savas<\/strong>: I understand. It’s challenging, but crucial. In today’s interconnected world, no one can afford to stay disconnected. On a different note, when you’re planning the program for the festival, do you take the audience\u2019s expectations into account, or do you prioritize your own vision for the event?<\/p>\n\n\n\n

Honestly, I don\u2019t think too much about the audience. I follow my own vision and ideas. A good friend once asked me, “Where is Chinese theatre headed?” And I said, \u201cChinese theatre goes where people go.\u201d Theatre isn\u2019t an individual pursuit; it\u2019s a collective one. So many factors contribute to shaping it.<\/p>\n\n\n\n

Savas<\/strong>: And how would you describe the audience at Wuzhen? Are they receptive, welcoming, strict, or perhaps political?<\/p>\n\n\n

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Seventh Day, <\/em>directed by Meng Jinghui. Courtesy of Meng Jinghui <\/em>and Wuzhen Festival<\/figcaption><\/figure>\n<\/div>\n\n\n

The audience at Wuzhen is quite diverse in terms of education, age, and expectations. I believe that over 50% of them are eager to be there and enjoy the experience. About 30% might be a little curious but unsure of what to expect, and the remaining 20% might not know much about the festival at all. But as the festival evolves, the audience will also grow and change.<\/p>\n\n\n

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Bedbugs,<\/em> directed by Meng Jinghui. Photo: Courtesy of Meng Jinghui and  Wuzhen Festival<\/figcaption><\/figure>\n<\/div>\n\n\n

Savas<\/strong>: Thank you. At this point I\u2019m wondering if Peng Tao has any questions for Mr. Meng.<\/p>\n\n\n\n

Peng Tao<\/strong>: Yes, I do, thank you. I\u2019d like to ask something related to Mr. Meng\u2019s work. I know your master\u2019s thesis was about the directing art of Meyerhold. After graduating from the Central Academy of Drama, you directed works like The Accidental Death of an Anarchist<\/font>, Bedbugs<\/font>, The Suicide<\/font>, and a new version of Waiting for Godot<\/font>. There\u2019s often a clear connection to Meyerhold\u2019s methods in your work. How do you relate Meyerhold\u2019s approach to your own directing?<\/p>\n\n\n\n

Professor Peng, when I graduated, I discovered that my teacher\u2019s teacher\u2019s teacher\u2019s teacher\u2019s teacher was Meyerhold, so in a way, I\u2019m the sixth generation of his lineage. That was fascinating to me, and I decided to follow some of his principles. The first is the courage to deconstruct everything. The second is a love for the poetic side of humanity. And the third is inventiveness. These might sound like broad concepts, but they are essential to me. If you look at Meyerhold\u2019s methods from 100 years ago, you can feel the excitement and passion that still resonates. For Meyerhold, it wasn\u2019t just about the method; it was about the imagination of the human spirit.<\/p>\n\n\n\n

Savas<\/strong>: As we approach the end of this conversation, do you have any final thoughts to share with us, Zhu Ning?<\/p>\n\n\n\n

Zhu Ning<\/strong>: Yes, I have one last question. Mr. Meng, regarding your new production of Waiting for Godot<\/font>, what are the key differences between the two versions? The 1990s version was such an intense reflection of its time, so I\u2019m wondering what motivated you to stage Waiting for Godot<\/font> then, and what\u2019s the purpose of the new version.<\/p>\n\n\n\n

The first version was produced in 1991. At that time, I had watched a small film that influenced me a lot, particularly in how it emphasized the role of imagination in art.  So when I was directing that version, I embraced a sense of uncertainty. For the new version, we wanted to focus on youth, the way they face the world today and their reflections on absurdity. In the original, there was a lot of anger, but in the new version, there’s more wonder and uncertainty about the world we live in now.<\/p>\n\n\n\n

Peng Tao<\/strong>: The first version of Waiting for Godot<\/font> in 1991 was very tied to its epoch. Society was under a lot of pressure at the time, which was reflected in the anger of the characters.<\/p>\n\n\n

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Waiting for Godot, <\/em>directed by Meng Jinghui.<\/em> Photo: Courtesy of Meng Jinghui <\/em>and  Wuzhen Festival<\/figcaption><\/figure>\n<\/div>\n\n\n

Zhu Ning<\/strong>: Yes, that\u2019s right, Peng Tao, and there was a very interesting stage set. I remember a doll used as an entrance, and there was a curtain with a portal on it. It felt like a metaphor for rebirth.<\/p>\n\n\n\n

In the new version, we invite the audience to interact with the stage settings. We have created a space where they can write or draw anything they wish. It’s an invitation for them to share their thoughts and ideas, making them visible to both themselves and others.<\/p>\n\n\n\n

Savas<\/strong>: That\u2019s a smart way to engage the audience. As we wrap up our discussion, I have one last question. Mr. Meng, looking back on your career, do you have any regrets? If you could go back, is there anything you would change?<\/p>\n\n\n\n

Fortunately, I have no major regrets. But if I have to mention one thing, it would be that I wish I had read more during the pandemic. I spent a lot of time just looking at the sky, thinking, “Are we waiting for Godot?” It felt like being in the company of Vladimir and Estragon, waiting, waiting together.<\/p>\n\n\n\n

Savas<\/strong>: That\u2019s a lovely way to end this conversation, waiting for something better. I think we all hope that Godot never shows up, because we love the anticipation.<\/p>\n\n\n\n

Meng<\/strong>: Yes, exactly.<\/p>\n\n\n\n

Savas<\/strong>: It\u2019s been a true pleasure speaking with you, Mr. Meng. We briefly met at your festival a few years ago, before the pandemic. Now, thanks to Peng Tao for suggesting this online conversation, Hueyi for the translation, and Zhu Ning for joining us, we\u2019re able to connect again.<\/p>\n\n\n\n

Meng: <\/strong>Yes.  <\/strong>Connect again. Thank you. Bye Bye. <\/a><\/p>\n\n\n\n

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*<\/a>Peng Tao<\/strong> is Professor and Head of the Dramatic Literature Department, Central Academy of Drama, Beijing, China, where he also works as a theatre critic. He graduated from the Russian Academy of Theatre Art with a Master`s degree in Fine Art. His main areas of research are Chekhovian theatre studies and contemporary Chinese theatre criticism. His main publications include \u201cA Reading of Three Sisters<\/em>\u201d (2005\/3), \u201cNotes on the Seagull<\/em>\u201d( 2007\/1) and \u201cA Study on Lin Zhao Hua’s interpretation of Chehov’s works\u201d (2008), all of which appeared in Drama :The Journal of The Central Academy of Drama. <\/em>He has also published \u201cA Fight of a Drunker: About Krystian Lupa`s production Drunker Named Mo Fei<\/em>\u201d (Stage and Screen Reviews <\/em>, 2017\/4), and \u201cStatus, Problems and Prospects of New Media Theatre Criticism\u201d (Drama: The Journal of the Central Academy of Drama<\/em> 2022\/4). <\/a><\/p>\n\n\n\n

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**<\/a>Zhu Ning<\/strong> is Associate Professor, Department of Dramatic Literature, China Central Academy of Drama, Beijing. Her primary research and teaching focus on the history of Western theatre, as well as contemporary Western theatre practices and theories. She is also an active theatre critic in China. With extensive experience as a playwright, she has contributed to various productions, including The Peach Blossom Fan<\/em> (as dramaturg), Romance of the Western Chamber<\/em> (musical, as dramaturg and lyricist), Dandelion<\/em> (script planning), and I Love Fables<\/em> (as playwright), among others. Zhu Ning has also authored several articles, such as \u201cFrom Classicism to Anti-heroism: The Adaptation and Rewriting of Shakespeare,\u201d \u201cAn Escape from Drama: Eugenio Barba\u2019s Anti-Elitist Theatre Practice,\u201d \u201cThe Resurgence of the Classical,\u201d and \u201cThe Road We Passed: A Retrospective on a Century of Chinese Theatre Translation.\u201d <\/a><\/p>\n\n\n\n

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***<\/a>Savas Patsalidis<\/strong> is Professor Emeritus in Theatre Studies at Aristotle University of Thessaloniki, where he has taught at the School of English for close to 35 years. He has also taught at the Drama School of the National Theatre of Northern Greece, the Hellenic Open University and the graduate program of the Theatre Department of Aristotle University. He is the author of fourteen books on theatre and performance criticism\/theory and co-editor of another thirteen. His two-volume study, Theatre, Society, Nation<\/em> (2010), was awarded first prize for best theatre study of the year. In 2019 his book Theatre & Theory II: About Topoi, Utopias and Heterotopias<\/em> was published by University Studio Press. In 2022 his book-length study Comedy\u2019s Encomium: The Seriousness of Laughter<\/em>, was also published by University Studio Press. In addition to his academic activities, he writes theatre reviews for various journals. He is on the Executive Committee of the Hellenic Association of Theatre and Performing Arts Critics, a member of the curators\u2019 team of Forest International Festival (organized by the National Theatre of Northern Greece), and the editor-in-chief of Critical Stages\/Sc\u00e8nes critiques<\/em>, the journal of the International Association of Theatre Critics.<\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2024 Peng Tao, Zhu Ning, Savas Patsalidis
Critical Stages\/Sc\u00e8nes critiques<\/em>, #30, Dec. 2024
e-ISSN: 2409-7411<\/p>\n\n\n

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