Get Drama­tised at Bei­jing Arts Festival

Beijing (English) - - CONTENTS - Trans­lated by Xu Qing­tong, pol­ished by Mark Zuiderveld Pho­tos cour­tesy of China Arts and En­ter­tain­ment Group

Af­ter over ten years of de­vel­op­ment, the “Meet in Bei­jing” Arts Festival has now be­come a top art ban­quet.

The “Meet in Bei­jing” Arts Festival 2017 is about to kick off this sum­mer. This na­tional arts ac­tiv­ity has en­tered its 17th ses­sion since 2000, dis­play­ing to Chi­nese au­di­ences the cul­tural splen­dour of the world con­veyed by 1,020 arts groups, 32,000 artists from 120 coun­tries and re­gions. “Meet in Bei­jing” will show­case sev­eral sec­tions in­clud­ing mu­sic, theatre, danc­ing, ex­hi­bi­tion and out­door mu­sic fes­ti­vals and will in­vite over 400 artists of 23 ex­cel­lent per­form­ing arts groups from 21 coun­tries and re­gions to present nearly a hun­dred per­for­mances and ex­hi­bi­tions. Sched­ule a date with Bei­jing art this sum­mer.

Dance Drama Sissi

The 1955 Aus­trian movie Sissi has im­printed on view­ers its princess, a leg­endary sym­bol of beauty, wits and free spirit, and has in­spired count­less artistic sorts. In real life, Sissi mar­ried Franz Joseph I, Em­peror of Aus­tria, at the age of 16 and be­came Em­press. How­ever, the much more for­mal court life proved de­press­ing for Sissi, who en­joyed a priv­i­leged up­bring­ing since child­hood. Later on, when the dual monar­chy of Aus­tria-hun­gary was es­tab­lished, Sissi was of­fi­cially crowned as Queen of Hun­gary, in which she found real hap­pi­ness. She learned Hun­gar­ian, helped the King with af­fairs of the state, fre­quently in­spected civil life in pri­vate, and even joined in the plan­ning and con­struc­tion of Bu­dapest. On ac­count of what she had done for Hun­gary, Sissi was then also cor­dially called “Hun­gary's daugh­ter” by the peo­ple. As the opening per­for­mance, the dance drama Sissi is sen­ti­men­tal but quintessen­tially Hun­gar­ian. The drama de­picts the ro­mance be­tween Aus­trian Em­press Sissi, Count An­drassy and a beau­ti­ful Gypsy girl. The opera is unique in that it not only tells the story of a leg­endary Sissi from Hun­gary's per­spec­tive, but also brings into the drama Hun­gary's two na­tional trea­sures of cul­ture— Hun­gar­ian folk dance and gypsy mu­sic, pre­sented by Hun­gar­ian Ex­per­i­men­tal Dance Troupe and Bu­dapest Gypsy Sym­phony Orches­tra.

Dif­fer­ent from reg­u­lar dance dra­mas, Sissi has its orches­tra moved onto the stage from the orches­tra pit. The orches­tra who ac­com­pa­nies the dance drama is none other than Bu­dapest Gypsy Sym­phony Orches­tra, Hun­gary's top orches­tra, also ti­tled “Hun­gary's Mu­sic Mu­seum,” and “One Hun­dred Vi­o­lin Orches­tra,” has no per­cus­sion, brass or wood­wind in­stru­ments but over a hun­dred vi­o­lins, cel­los and vi­o­lones.

It is also the only sym­phony orches­tra in Hun­gary and Europe that can si­mul­ta­ne­ously play tra­di­tional gypsy mu­sic, Jewish mu­sic and clas­si­cal mu­sic. Dur­ing the play, orches­tra mem­bers, in­stead of sit­ting

up­right, stand up from time to time to join in the stage per­for­mance. The cim­balom dul­cimer, a mu­si­cal in­stru­ment pe­cu­liar to Hun­gary, will also be used.

Sissi will fea­ture modern danc­ing. Af­ter learn­ing from Hun­gary's folk danc­ing, modern dance and clas­si­cal bal­let, San­del Ro­man, Artistic Di­rec­tor of the dance troupe, has in­vented a whole new danc­ing style that strikes a chord with modern times, an­other fac­tor that makes the drama unique. The in­ge­niously plot­ted leg­end of ro­mance be­tween Sissi, Count An­drassy (the most hand­some man in Hun­gary) and a beau­ti­ful gypsy girl will be re­lated through a visual splen­dour of East­ern Euro­pean danc­ing that comes in the forms of mag­nif­i­cent royal court dance, lively and cheer­ful Euro­pean folk dance and gypsy dance.

Stage Play

To Kill a Mock­ing­bird

In 1960, Harper Lee, born in Alabama in the U.S., wrote the novel To Kill a Mock­ing­bird set in a south­ern town, which told of an un­just trial re­volv­ing around racial in­jus­tice dur­ing the Great De­pres­sion from the per­spec­tive of a six-year-old child.

A case in which a black man who had been falsely ac­cused of rap­ing a young white woman caused a stir in a quiet town. The play will be staged by three chil­dren and of­fer de­tailed and sharp in­sight into racism and so­cial prej­u­dice in the Amer­i­can south. Tom Robin­son, who worked on the plan­ta­tion, was falsely ac­cused and mur­dered by gun­fire in his es­cape.

This was an ex­am­ple in which in­no­cence was de­voured by evil, wit­nessed by three chil­dren des­tined to grow up against mis­ery and con­fu­sion af­ter a series of in­jus­tices, and to stand firm in their pur­suit of in­tegrity. The novel uses a child's per­spec­tive in a hu­man­i­tar­ian sense, and has since played an in­valu­able role in for gen­er­a­tions of youth.

Though the story in To Kill a Mock­ing­bird is re­mote, its hu­man­i­tar­ian spirit is uni­ver­sal. In 1961, the widely in­flu­en­tial novel was awarded the Pulitzer Prize. In 1962, the book was made into a film with the same ti­tle, star­ring Gre­gory Peck as At­ti­cus Finch, a model of in­tegrity in the le­gal pro­fes­sion. Peck went onto win the Os­car for Best Ac­tor.

Af­ter its suc­cess in lit­er­a­ture and on the sil­ver screen, the book was then adapted as a play that dom­i­nated the stage for decades. “Meet in Bei­jing” will in­tro­duce the play To Kill a Mock­ing­bird staged by Mon­tana State Theatre, il­lus­trat­ing prej­u­dices, in­tegrity and courage, giv­ing au­di­ences food for thought and a chance to re­visit the glory of this mas­ter­piece. Lec­tures and ac­tiv­i­ties will also be or­gan­ised to fully dis­play the play's lit­er­ary merit and value.

A Sand­paint­ing Dream

Sand­paint­ing is a new stage per­for­mance grow­ing in visual splen­dour. Cre­ated with ever- chang­ing pat­terns, sand­paint­ing turns a static art into a dy­namic one, giv­ing view­ers the chance to wit­ness the pain­ter's paint­ing and skills in colour­ing, pre­sent­ing sto­ries as vividly as cre­at­ing comics. To see a

piece of art­work take shape, au­di­ences are brought closer to art.

It is the same with the Span­ish sand­paint­ing per­for­mance Dream, which in­te­grates sand­paint­ing, the cir­cus, live mu­sic and pup­pet shows. Us­ing hands and sand, Span­ish artists cre­ate dif­fer­ent scenes on glass, with cir­cum­stances that re­flect dif­fer­ent emo­tions. Ac­com­pa­nied by live mu­sic, artist Pocha Gon­zalo looks like a ma­gi­cian when spray­ing out sand from his fist, or ex­hales to sub­tly re­fine a pat­tern, or ma­nip­u­late pup­pets in its paint­ing, or rolls and tum­bles in the air.

Un­der his hand, pic­tures il­lus­trate the two pro­tag­o­nists grow­ing up, com­ing of age and be­com­ing life­long com­pan­ions. Life, with its bit­ter­ness and sweet­ness pro­jected on the screen, where shad­ows vary from houses to trees, from Eif­fel Tower to Lean­ing Tower of Pisa, in­di­cate dif­fer­ent stages in life. By telling a ro­man­tic story and dis­play­ing an en­tranc­ing dream, the 50-minute per­for­mance tran­scends a lan­guage bar­rier and na­tion­al­i­ties and leaves be­hind an in­deli­ble mem­ory as food for thought.

Pocha Gon­zalo's sand­paint­ing, with cre­ative themes, dis­tinct lines, soft colours, vivid pic­tures, and an ethe­real feel­ing, is emo­tion­ally in­fec­tious. The orig­i­nal mu­sic that per­fectly ac­com­pa­nies the drama is an­other highlight that is con­veyed by pianos, vi­o­lins, vi­o­lones, guiros, Baglama and Rabab. Each note that har­mo­niously chimes with the scene is to strike a chord with the au­di­ence. The sand­paint­ing per­for­mance is be­lieved to serve as a bright spark in Span­ish modern art, and of­fer­ing the au­di­ences a glimpse into the unique Euro­pean coun­try on the Ibe­rian Penin­sula.

Lithua­nian Drama Mother

The drama Mother brought by Lithua­nia VMT Na­tional Theatre is an ex­cel­lent stage work that is ac­tu­ally not so much hair­rais­ing as it is pa­thetic. It is based on Rus­sian and Soviet writer Maxim Gorky's fa­mous drama Vassa Zheleznova, telling how the ship­yard fe­male boss Vassa and her fam­ily are stran­gled in their plot against each other for money and in the twisted love— a cruel story that makes one's spine chilly. In the play, the fe­male boss Vassa wor­ships noth­ing but money. To pro­tect her wealth, she goes as far as plot­ting to kill her brother. She is also a con­trol freak who strongly de­sires to ma­nip­u­late her two sons and daugh­ters, re­sult­ing in their twisted mar­riage and char­ac­ter.

The drama is most emo­tion­ally in­fec­tious with its mon­tage-style per­for­mance and di­a­logues. The lack­lus­tre cloth­ing, gloomy mu­sic and vi­o­lent ges­tures all en­shrouded in a chilled colour bring forth a mis­er­able fam­ily suf­fer­ing con­flicts and loss and sweep up au­di­ences like tor­na­does. The act­ing is pow­er­ful and pre­cise in de­pict­ing each char­ac­ter, con­tribut­ing to a story that un­veils the dark side of hu­man na­ture.

The past two years have seen sev­eral Lithua­nian dra­mas staged in China. In 2016, Re­mas Tu­mi­nas, the Lithua­nian theatre di­rec­tor, at­tended the Nan­lu­ogux­i­ang Drama Festival with The Three Sis­ters and Madagascar. In the same year, his Mas­quer­ade stunned au­di­ences in the Na­tional Grand Theatre. The drama Mother this time around is di­rected by Kir­ill Ger­rusa Jef, a prom­i­nent young Lithua­nian di­rec­tor who once learned from Re­mas Tu­mi­nas and is con­sid­ered

his suc­ces­sor. Talk­ing of Mother, Kir­ill said, “Fam­ily as a small unit of so­ci­ety is much more frag­ile than so­ci­ety it­self. I pre­fer to see a drama full of con­flicts be­tween in­di­vid­u­als rather than be­tween dif­fer­ent classes or ide­olo­gies.”

The Lithua­nia VMT Na­tional Theatre was founded in De­cem­ber 1990, pre­luded by Re­mas Tu­mi­nas's The Cherry Or­chard writ­ten by An­ton Chekhov, a Rus­sian play­wright. De­spite be­ing home to nu­mer­ous tal­ented cre­ators and the cra­dle of count­less clas­sic works, the theatre at its ear­li­est phase had no home it­self. It had to find its way in small halls of the Lithua­nian Na­tional Drama Theatre for re­hearsals and per­for­mances, at­tain­ing the nick­name, “Lit­tle Theatre of Vil­nius.” In the fall of 2005, it was fi­nally fixed at No. 22 Ged­im­i­nas Av­enue, Vil­nius city, end­ing its 14-year-long par­a­sitic life, and was re­named “Lithua­nia VMT Na­tional Theatre” later. It has since be­come a cul­tural icon of Vil­nius and Lithua­nia.

Drama White Deer Plain

The in­tro­spec­tive lit­er­a­ture that thrived in the 1980s has in­spired a series of nov­els cre­ated in the 1990s, which achieved a record high level re­flect­ing na­tional his­tory and cul­ture. Chen Zhong­shi's White Deer Plain, is such a mas­ter­piece. The book es­tab­lishes Bai Ji­ax­uan as the nar­ra­tor, and re­volves around two heavy­weight fam­i­lies—the Bais and Lus, the for­mer hav­ing in­her­ited the po­si­tion of vil­lage chief for gen­er­a­tions. Bai Ji­ax­uan mar­ried seven wives in his life, leav­ing be­hind three sons and one daugh­ter, namely Bai Xiaowen, Bai Xiaowu, Bai Xiaoyi and Bai Ling. Lu San was the Bais' long-term hired hand, and Hei Wawas his el­dest son. The Lus are rep­re­sented by Lu Zilin, who had two sons, Lu Zhaopeng and Lu Zhao­hai.

Bai Xiaowen be­came the vil­lage chief ac­cord­ing to the cus­tom. Hei Wa worked as a hired hand in a wealthy fam­ily, end­ing up elop­ing with his boss's mis­tress Tian Xiao'e, which re­pulsed the vil­lagers. Later Hei Wa left the vil­lage, joined the rev­o­lu­tion­ary army and is forced to be­come a ban­dit, while Lu Zilin and Bai Xiaowen get ad­dicted to opium, ex­haust their wealth and try to earn a liv­ing out­side the vil­lage.

Lu San found his daugh­ter- in- law Tian Xiao'e so shame­ful that he had to kill her, but he was tor­tured to death by a haunt­ing death scene. In the end, Bai Xiaowen rose from the ashes. Bai Ling, the only daugh­ter of the fam­ily, joined the Com­mu­nist Party and falls in love with Lu Zhaopeng.

Chen Zhong­shi spent two years pre­par­ing and four years in writ­ing the over-500,000-word novel, which was awarded the Mao Dun Lit­er­ary Prize and be­came a clas­sic in modern Chi­nese lit­er­a­ture. In 2006, the drama White Deer Plain, pro­duced by Bei­jing Peo­ple's Art Theatre, di­rected by Lin Zhao­hua, writ­ten by Meng Bing, star­ring Pu Cunxin and Song Dan­dan, pre­miered in the Cap­i­tal Theatre and in­stantly won pub­lic ac­claim. In 2016, Shaanxi Peo­ple's Art Theatre ad­justed the 2006 ver­sion and brought forth its new ver­sion of White Deer Plain di­rected by Hu Zongqi, writ­ten by Meng Bing, and staged at the Bei­jing Chi­nese Theatre. This ver­sion proved to be a pin­na­cle of modern Chi­nese theatre.

This time a whole new edi­tion of White Deer Plain will be in­tro­duced. It is to be put on by the Cap­i­tal Theatre, di­rected by Lin Zhao­hua and Li Li­uyi, dou­ble- di­rected by Han Qing and star­ring Pu Cunxin, Guo Da, Lu Fang and Jing Hao. The epic drama de­pict­ing 50 years of his­tor­i­cal changes in Weihe Plain is sure to bring au­di­ences face to face with a volatile his­tory, ab­sorbed in the ri­vals for ruler­ship be­tween two heavy­weight fam­i­lies. The drama re­tains a range of plots such as “get­ting a land of trea­sure,” “honey-trap” and “killing his sonin-law.” The changes of scenes in Bais, Lus and Zhus in­te­grate closely with the plots, ac­com­pa­nied by tra­di­tional Shaanxi folk songs and op­eras, to trans­port au­di­ences space and time to wit­ness his­tory.

‘Ve­hi­cle@city@peo­ple’ Re­lay Series of Ex­hi­bi­tion

“Ve­hi­cle@city@peo­ple” is a re­lay series of ex­hi­bi­tion that spans one whole year. Di­vided into “Car­riage Cul­ture of Bei­jing,” “High-speed City” and “Fu­ture City Travel,” it uses modern in­ter­net lan­guage to link the ve­hi­cles, the city and its peo­ple in dif­fer­ent his­tor­i­cal set­tings. The premier ex­hi­bi­tion “Car­riage Cul­ture of Bei­jing” will fea­ture car­riage cul­ture and aims to in­spire peo­ple's thoughts about it by dis­play­ing the peo­ple, car­riages and eti­quette of an­cient Bei­jing.

The in­ter­me­di­ate ex­hi­bi­tion “High­Speed City” is to in­ter­pret the as­so­ci­a­tion be­tween modern ve­hi­cles and peo­ple's life. The “Fu­ture City Travel” ex­hi­bi­tion will look to the fu­ture, ex­plore the pos­si­bil­ity of a fu­tur­is­tic city and trans­porta­tion, picture new au­to­mo­tive tech­nolo­gies, city lifestyles and de­pict an ideal city.

It is the Auto Mu­seum's first try char­ac­terised by its long­est time span both in ex­hi­bi­tion du­ra­tion and ex­hi­bi­tion con­tent. All its de­vel­op­ment of his­tory, cul­ture, city and so­ci­ety is told from the per­spec­tive of ve­hi­cles to pro­mote the con­cept of har­mony of peo­ple, ve­hi­cles, life and so­ci­ety. The ex­hi­bi­tion is most in­no­va­tive in its half-open­ness. The “@” sign can be seen througout the ex­hi­bi­tion, call­ing for peo­ple to par­tic­i­pate in, sub­mit old pho­tos, ar­ti­cles and short sto­ries themed on “Me With Bei­jing.” Vis­i­tors are in­volved and be­gin to won­der about and ex­pect the next ex­hi­bi­tion.

A Cap­pella Magic

“A cap­pella” is de­rived from “A Cap­pella,” which means "in chapel or choir style" in Ital­ian. The mu­sic style was orig­i­nally pop­u­lar in the church and was not associated with mu­si­cal ac­com­pa­ni­ment. How­ever, in the 19th cen­tury a re­newed in­ter­est in Re­nais­sance polyphony cou­pled with an ig­no­rance of the fact that vo­cal parts were of­ten dou­bled by in­stru­men­tal­ists led to the term com­ing to mean un­ac­com­pa­nied vo­cal mu­sic.

“A cap­pella” means singing with­out in­stru­men­tal ac­com­pa­ni­ment, a purely vo­cal per­for­mance that in­cor­po­rate cho­rus, im­i­tate mu­si­cal in­stru­ments and make sounds from na­ture, whose va­ri­ety is based on hu­man voices.

Six Ap­peal is the most fa­mous “A cap­pella” en­sem­ble in the United States. This tal­ented sex­tet of young singers uses their voices to nav­i­gate mul­ti­ple gen­res of mu­sic, in­fuse their “a cap­pella” tim­ing, and make old songs into new hits. Their far-reach­ing reper­toire spans a mul­ti­tude of decades and gen­res, in­clud­ing Pop, Coun­try, Clas­sic Rock, Jazz, R&B, and much more.

In 2012, they won the ti­tle “Na­tional Har­mony Sweep­stakes A cap­pella Festival Cham­pi­onship,” “Au­di­ence Favourite Team Award” and “Best Orig­i­nal Song Award,” be­com­ing the only team that had reaped three awards in the last ten years. In 2013,

they sang an Amer­i­can na­tional an­them at the live-streamed Sugar Bowl of ESPN and rose to na­tion­wide fame overnight.

DAGADANA Bei­jing Con­cert 2017

The per­for­mance is from DAGADANA, an eight-year- old Pol­ish band, who tri­umphantly in­te­grated el­e­ments of Ukrainian and Pol­ish cul­ture through merg­ing jazz, elec­tronic mu­sic, world mu­sic and folk mu­sic. Adept at us­ing sound syn­the­siz­ers, big bass, even chil­dren's toys make var­i­ous sound ef­fects en­tranc­ing to lis­ten­ers.

Ever since 2012 DAGADANA has be­come a rou­tine vis­i­tor in China, it has also started col­lab­o­rat­ing with Chi­nese mu­si­cians, un­der which came their “The Merid­ian 68 (2016)” al­bum. Mu­si­cians from the In­ner Mon­go­lia North Band were in­vited to record an al­bum. Yet the al­bum and joint con­cert wouldn't be with­out mu­si­cians' mu­tual ap­pre­ci­a­tion and the solid sup­port from Bei­jing Poland As­so­ci­a­tion, Adam Mick­iewicz In­sti­tute and Poz­nan City Hall Cul­tural Cen­tre.

DAGADANA also makes fre­quent per­for­mance tours in Poland and China. So far it has at­tended Shang­hai World Mu­sic Festival, Poland Arts Festival, Ori­en­tal Cul­tural Festival and Poland Third Ra­dio Sta­tion's mu­sic record­ing, build­ing a great fan base across China through imag­i­na­tive per­for­mances.

An­cient Glory Shines To­day

Guang­dong Prov­ince, on the coast of South China Sea, with its nu­mer­ous bays and ports, has been a main hub for China's mar­itime traf­fic and trade with the world since the Han Dy­nasty. It be­came even more im­por­tant as a pro­duc­tion base and re­lay sta­tion of ex­ported art­works af­ter the Can­ton Sys­tem (1757–1842), which served as a means for China to con­trol trade with the West within its own coun­try by fo­cus­ing trade on the south­ern port of Can­ton (now Guangzhou).

Del­i­cate arts and crafts works from Guang­dong in­clud­ing colourised ce­ram­ics, em­broi­dery, carv­ings, paint­ings, sil­ver­ware, lac­quer­ware, fans, wall­pa­per and name card boxes, as well as China's three most fa­mous del­i­ca­cies—silk, china and tea, swarmed into west­ern coun­tries, caus­ing a craze with Chi­nese prod­ucts wher­ever they went.

“An­cient Glory Shines To­day— Ex­hi­bi­tion of Guang­dong Ex­port Art­works in the Qing Dy­nasty” to be hosted in China Cus­toms Mu­seum is one that aims to dis­play the cul­tural com­mu­ni­ca­tion be­tween China and the west. The ex­hi­bi­tion is di­vided into eight sec­tions based on eight kinds of ex­ported art­work, namely col­orised ce­ram­ics, em­broi­dery, carv­ings, paint­ings, sil­ver­ware, lac­quer­ware, fans, wall­pa­per and name card boxes.

Aside from antiques bor­rowed from Guang­dong Pro­vin­cial Mu­seum, those antiques pre­served by China Cus­toms Mu­seum will also be dis­played to present the his­tory of cul­tural and eco­nomic com­mu­ni­ca­tion be­tween China and the West. To make the ex­hi­bi­tion more vis­ually ap­peal­ing, China Cus­toms Mu­seum even man­aged to rent more than 20 pieces of Qing Dy­nasty Euro­pean-style fur­ni­ture from col­lec­tors to re­vive a “19th cen­tury Euro­pean aris­toc­racy.” The ex­hi­bi­tion has won the Top 10 Ex­hi­bi­tion Award for Na­tional Mu­se­ums, nick­named “the Os­car for Chi­nese mu­se­ums.”

Mas­ter­piece Bal­let Swan Lake

By the en­chanted lake, Princess Odette turned into a white swan by an evil sor­cerer's curse. The hero, Prince Siegfried, fell in love with her while out rid­ing on the lake. At night when Siegfried had to choose his bride, the evil sor­cerer let his own daugh­ter, the dark swan, dis­guise as Odette to cheat him. Luck­ily, Siegfried spot­ted the trick in time and killed the evil sor­cerer. The story ends with Odette re­turn­ing to her princess liv­ing hap­pily ever af­ter with his prince.

Swan Lake, based on a Ger­man folk tale in the Mid­dle Ages, was com­posed by Py­otr Ilyich Tchaikovsky, who used sym­phonies to cre­ate leg­endary mu­sic. As for the act­ing, in the third act of the show, the solo dancer who plays Odile is re­quired to do 32 fou­etté turns, a dif­fi­cult move. The move was first in­vented in 1892 by Pi­rina Leg­nani, an Ital­ian bal­let dancer, and pre­miered in the St. Peters­burg ver­sion of Swan Lake. Com­bin­ing soft danc­ing, en­dur­ing stamina and per­fec­tions in tech­nique, the move is able to in­di­cate the dark swan's in­ner world as dif­fer­ent from the white swan's. It is to­day con­sid­ered a touch­stone in mea­sur­ing bal­let dancers and bal­let groups.

Since its Moscow de­but in 1877 about 140 years ago, Swan Lake has al­most be­come bal­let's other name, in­spir­ing dif­fer­ent ver­sions that were soon fol­lowed across the world. The arts festival this time will bring the ver­sion pro­duced by the bal­let troupe of Be­larus Na­tional Model Theatre, a main venue for mu­sic and drama per­for­mance in Be­larus and also the coun­try's cul­tural sym­bol. In the past 15 years, the theatre has made sev­eral per­for­mance tours in over 30 coun­tries, its 120 bal­let artists hav­ing won count­less hon­ours and awards in all kinds of com­pe­ti­tions both at home and abroad, with clas­si­cal bal­let al­ways be­ing a pivotal part. Swan Lake, a clas­sic bal­let that has stood the test of time, is an ir­re­place­able icon for au­di­ences. It will be the fi­nale show for the “Meet in Bei­jing” Arts Festival in 2017.

The “Meet in Bei­jing” Arts Festival will also gather other acts in­clud­ing the “1994-2017 Na­ture of Art” ex­hi­bi­tion, BAM PER­CUS­SION Comic In­ter­ac­tive Per­cus­sion per­for­mance, Klô Pel­gag Duet Con­cert and the dance Seeds staged by the Carolyn Carl­son Dance Com­pany in France. The artistic del­i­ca­cies are pre­pared by the arts festival to broaden the cit­i­zens' hori­zons and strengthen their un­der­stand­ing in art. Cit­i­zens in turn will en­cour­age the arts festival with ac­tive par­tic­i­pa­tion. Af­ter over ten years of de­vel­op­ment, the “Meet in Bei­jing” Arts Festival has now be­come a top world-level art ban­quet.

A poster of ‘‘Ve­hi­cle@city@peo­ple’ Re­lay Series of Ex­hi­bi­tion’’

Newspapers in English

Newspapers from China

© PressReader. All rights reserved.