中国海军巨无霸船队曝光引关注 可轻松驮动辽宁舰

Behind?“Green-glazed Pottery Male Figures”?lies a wealth of untold stories. It is a tale of two comedic clay figurines – tracing their lives from youth, learning their craft, until they grow old, all the while embodying an enduring optimism about life.

Photo of Zhou Wencai, director and choreographer of the dance production "Green-glazed Pottery Male Figures", during an exclusive interview with Guangming Online.

My journey with this project began with a visit to the National Museum of China, where I was intrigued by these two figurines imbued with a humor that seemed to leap off the statues – much like two performers engaged in a lively crosstalk comedy. In that moment, I felt this was the exact kind of humor I wish to weave into my creation. What struck me most was their vibrant green glaze. Later, I discovered these figurines represented characters from Canjun Opera: one named?“Canjun”, the other?“Canghu”. Exploring these two characters, I realized that Canjun Opera, with its unique identities and rich backgrounds, resonated deeply with the lives of contemporary artists, such as myself.

As a member of a performance troupe, I am always searching for new inspirations, traveling far and wide to bring performances to life. Although 1,300 years have passed, I feel a strange, yet undeniable, connection to these ancient performers.

We wish to highlight the transformation from the humble to the extraordinary. With these seemingly ordinary characters, we convey a hopeful, optimistic view of life. Though they are simple figures, their stories speak the universal truth that, despite our own ordinariness, the passion and persistence with which we face life is something truly great.

Photo of "Canjun" and "Canghu", played by dancers Wang Zhen and Geng Dixian, in the dance production "Green-glazed Pottery Male Figures". (Photo provided to Guangming Online)

As Canjun Opera primarily relies on spoken dialogue and song, this presents a challenge for a dance interpretation in conveying emotion and meaning. We translated the language and gestures of the opera into movement, incorporating into the choreography gestures like clapping, praising, and flicking one’s sleeves. Additionally, we introduced elements from traditional Chinese performance art, such as?“Shuanghuang”, or two-men act. At the beginning of the performance, one performer stands in front, while the other hides behind. Through technical arrangement, the one behind pushes the one in front to the back, and as the two characters interact, it creates a dynamic exchange that mirrors the spirit of?“Shuanghuang” – challenging yet powerfully expressive.

For costume design, we paid meticulous attention to every detail. During my discussions with costume designer Chen Xiaojun, I shared my deep appreciation for the green glaze of the figurines. He designed a two-layer gauze so light and transparent that, when illuminated, it mirrors the translucent, luminous quality of the glaze. For makeup, we drew on traditional Chinese opera roles:?“Canjun”?as the?“Jing”?role (the noble, dignified character) and?“Canghua” as the?“Chou”?role (the comic, clownish counterpart).

“Green-glazed Pottery Male Figures”?may seem a comedy, but at its core is a tragedy. Historically, most Canjun Opera performers were not drawn to this profession by choice, they took the stage as a line of work to entertain the nobility. Yet, through the comedic tone in our dance, we sought to convey a life philosophy – that, no matter how rough life may be, we can always face it with a smile, and accept life as it is.

These figures felt alive in my first encounter with them in the museum. They stood motionless, yet I could sense the vivid stories they carried. Just as these figurines lived through the ages – crafted, buried as funerary objects, then unearthed – they embody the passage of time, the enduring trials, and the countless stories that have unfolded around them.

A still taken from the dance production "Green-glazed Pottery Male Figures".

The figurines of each dynasty bear the stamp of the aesthetic of their time. The Tang Dynasty’s?tri-colored?pottery, for example, represents the beauty and artistry of that period. These artifacts convey messages from the past, and signals from history. With this dance, we hope to inspire more people to walk into museums, to engage with these historical relics, and to feel the culture and stories that have shaped our collective heritage.

The artifacts we see today may be the fortunate remnants of history, or the lost witnesses of an age long gone. Many relics remain buried or have scattered across the globe. Through this piece, we hope to encourage a deeper appreciation for the historical treasures that are still with us, to understand the stories they hold, and to honor their place in our world. We hope this performance will not only illuminate the narratives hidden within history, but also remind us all that every culture, and every piece of history, is something we must cherish, protect, and pass down to future generations.

Contributed by Zhou Wencai, director and choreographer of the dance production “Green-glazed Pottery Male Figures”.