Theatre Design & Technology - Fall 1999 - 48

by

Alexandra Bonds

The Last Emperor, Hong Kong Ballet (1997); stage design by Liu Yuansheng, costume

design by Wang Linyou, lighting design by Tommy Wong.

T

Alexandra Bonds has

studied extensively in
China and won tbe 1999
Herb Greggs Awardfor
her TD&T article, "Beijing
Opera Costumes. " Sbe is
professor ofcostume
design at University of
Oregon.
46

F

ALL

I

9

9

9

TZ>&T

he exhibit from China included production photos, set models and renderings of four
productions, The Last Emperor, Tbe Peony Pavilion, Tbe Baccbae, and Turandot. In
the catalog which accomparued the exposition, the Chinese representatives point out
that the designs selected for tllis year's Cllinese exllibit illustrate the theatrical application of the fusion of two culnlral dualities: the joining of east and west, and the blending of the traditional and
modern. Each of these productions illustrated these dualities on differing levels.
The Last Emperor, by the very nanlre of the story, includes the transition from imperial to
modern China. The set for tllis ballet version, designed by Liu Yuansheng, was a simple construction of a series of screens, which created the shape of an expanded box set on the stage. The
changes in time and space were accomplished with projections onto these screens. The initial design feanlred a dragon fl)~ng through the heavens above the swirling waters of the ocean. Tllis conventional image, painted in the traditional style, uses the dragon to represent the emperor and the
clouds and water indicate his place in the center of the universe. As the story progressed, the transition from emperor to citizen was reflected as the style of the projections shifted to modern and
abstract imagely, indicating the changing political and aesthetic landscape.
Tbe Peon)' Pavilion was produced by the Shanghai Kunju Opera Company, directed by Chen
Shi-Zheng and designed by Huang Haiwei. The visuals for this production were based on the traditional style of Kungu, the predecessor of Beijing opera, but were adapted for this contemporaly vel'
sion. The pavilion was designed to break the traditional separation between stage and audience by
jutting out into the seating area. Below tile stage was a pool wllich contained real water and live ducks.
Peliod make-up tables were placed upstage of tile set and tile actors could be seen tllere prepaIing for
tlleir entrances. Tllis is the production tllat generated much iliscussion last yem' when it was not allowed
to leave tile country to be peIfoll1led at tile uncohl Center WIllie Cllinese autllOlities expressed concem
tllat it did not sufficiently reflect the trailitions of Kungu, tile issues were based more on tile maImer in



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1999

Contents
Theatre Design & Technology - Fall 1999 - 1
Theatre Design & Technology - Fall 1999 - 2
Theatre Design & Technology - Fall 1999 - 3
Theatre Design & Technology - Fall 1999 - Contents
Theatre Design & Technology - Fall 1999 - 5
Theatre Design & Technology - Fall 1999 - 6
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