One Belt One Road Experimental Theatre

The Interrupted Dream: Chinois Dream at Château de Versailles

Disrupted Historical Records in a Museum
One Belt One Road Experimental Theatre
The Interrupted Dream: Chinois Dream at Château de Versailles

Disrupted Historical Records in a Museum

Introduction

The Interrupted Dream is about disrupted historical records in a museum. Danny Yung, a pioneer of cross-cultural experimental theatre practice, imagines the wake of Chinoiserie at the Palace of Versailles in the 17th century through the setting of a museum. Audience at the Grand theatre on stage are introduced to the lustful reality of The Interrupted Dream, experiencing how the East and the West mirror and interact with each other.

The Interrupted Dream is conceptualized by Asian artists from different performing art backgrounds – Classical Javanese dancer Didik Nini Thowok has always been fascinated by the concept of The Peony Pavilion, as well as Kunqu as an art form. A while ago, he translated Shan Po Yang, a song of the lead female character Du Liniang from The Interrupted Dream, one of the most famous excerpts in The Peony Pavilion, into Indonesian, and composed a new melody for it. This work then became the prelude scene of Danny Yung’s The Interrupted Dream. Together with Shen Yili, a seasoned Kunqu (traditional Chinese theatre) lead actress from Shanghai; Nget Rady, a contemporary/traditional dancer from Phnom Penh; and Makoto Matsushima, a renowned contemporary dancer/choreographer/theatre performer from Tokyo, the show epitomizes a cultural exchange among Asian cultures, and a meeting between traditional and contemporary theatre.

Creative Team

Artistic Director, Director & Designer Danny Yung

Associate Director Liu Xiaoyi (Singapore)

Performers Didik Nini Thowok (Yogyakarta), Shen Yili (Shanghai), Makoto Matsushima (Tokyo), Nget Rady (Phnom Penh),  Amin Farid (Singapore), Jason Kong, Sabrina Sng (Singapore), Nattapon Wannaun aka Guide (Hatyai)

Ticketing

$600

Free seating


Full-time students

$100

Please note that the audience seating area of this performance is located at the stage, and audience will be admitted through the backstage entrance of the Grand Theatre.

  • Running time approximately 90 minutes with no intermission
  • No latecomers will be admitted, until a suitable break in the performance.
  • Zuni Icosahedron reserves the right to add, withdraw or substitute artists and/ or vary advertised programmes and seating arrangements.

Creative Note

(1) Welcome to the Hong Kong Cultural Centre. Here in the theatre you will observe the cross-cultural, cross-disciplinary, and cross-generational mirror fragments, so as to find a way to assemble them into an illusion projected by our subconscious mind. This illusion may have some meaning, but it may have no flavour at all; it may be meaningful as mass cultural consumption, but it may also become a flavourless experiment. Welcome to the Hong Kong Cultural Centre. Please imagine the theatre is now transformed into the Palace of Versailles in France where, in the 17th century, Louis XIV and his people constructed fantasies about a utopia 400 years in the future. Perched on stilettos, they imagined their version of Chinoiserie on the stage of the faraway Orient. We welcome you, our audience, to the time-transcended Hong Kong Cultural Centre in search of a story of culture and the concepts of centre. Thank you for your cooperation.

(2) Welcome to the centre of world power. Since our leader stubbornly believes he is the Sun, as if he were the centre of the universe, we are now listening to Rameau’s 17th-century French rhythms. We can feel from the rhythms that the masses also believe in the need for power to have a centre. Just imagine in front of you is the Hall of Mirrors at the Versailles Palace where we will receive the illusion bestowed upon us by the Sun King Louis XIV. It’s because our artists firmly believe that those at the edge of society will never be able to influence the centre of power. What we can sense is the manifestation of exotic performances blindly worshipped by those who indulge in postcolonial escapism. It’s because our audience continue to believe political actions no longer reflects the centre of power. Welcome all to the centre of world power. Welcome all to the centre where Hong Kong culture is to be interpreted. Thank you for your cooperation.

(3) Welcome all to France. Here we’re going to search for a Chinese erotic venue where research on pornography is conducted. We are looking for the mythical centre where sex flagrantly offends public morality. Here we look for the demonstration of the boundary between kinkiness and adultery. Here we study the practice of blatant prostitution that offends public decency, and search for the fashion and lifestyle for dressed up kinky beasts. We study orgies of a civic society in order to find out the origin of its orgasms. We search for the public spaces that are coquettish yet randomly-existing. We search for the pathetic sexual habits which feature the one-man-one-vote practice and attack one from both front and rear ends. We study the democratic postures which are dominated by the promiscuous pseudo-intellectuals who justify their superiority complex. We study the innocuous humanism radiating from the Interrupted Dream in the Peony Pavilion, bringing the union of the living and the dead. We study the freedom of speech which is characterised by fallen morality, blatant nakedness and seduction. We search for the backyard scenery which reveals the glorious and desolate scenes of obscenity. We study the scattered ruins left by the evil and avaricious pursuits of humanity in the face of insatiable desires and moral battlegrounds. Welcome to the Hong Kong Cultural Centre. Thank you for your cooperation.

(4) Welcome to the centre of flowers and plants. Welcome to the centre of life and death. Thank you for your cooperation. Welcome to the centre of the storm. Welcome to the centre of drowsiness. Thank you for your cooperation. Welcome to the centre of virtual reality. Welcome to the centre of true and false. Thank you for your cooperation. Welcome to the centre of Peony Pavilion where one must show one’s stand. Welcome to the centre of the interrupted dream at Beidaihe. Thank you for your cooperation. Welcome to the centre where foreign forces must take sides. Welcome to the centre without gravity. Welcome to the centre without a centre. Thank you for your cooperation. Welcome to the centre of madness. Welcome to the centre of right and wrong. Welcome to the centre of a revolving circle. Welcome to the centre of rules and regulations. Thank you for your cooperation. Welcome to the centre without borders. Welcome to the centre without a centre. Thank you for your cooperation. Thank you for your cooperation.

Ticketing

Month-09_en

12

8:15pm
Grand Theatre, Hong Kong Cultural Centre
Month-09_en

13

4:00pm
Grand Theatre, Hong Kong Cultural Centre
Month-09_en

14

8:15pm
Grand Theatre, Hong Kong Cultural Centre

The criss-crossing of Chinese Kunqu Opera and classical Javanese dance on the stage... having their own dreams superimposed, like a glass jar in which different fragments of stars colliding with each other.

Southern Metropolis Daily

Background

Hong Kong Belt-Road Cultural Innovation

Along the One Belt One Road are all historical cities. The way in which traditional cultures encounter technology, economic development, and consumerism prompts a great number of traditional performing artists from the One Belt One Road cities to re-examine the direction of future development of traditional arts and culture.One Belt One Road Experimental Theatre is neither a simple demonstration of the eastern and western cultures, nor the kind of exchange that is simple and formalist. Rather, it is an exploration of technology, an exploration of new possibilities, experimentation, and collaboration of the expression of traditional craftsmanship and modern theatre.

 

Danny Yung has always pioneered the experimentation of tradition. Since the 1990s, Yung has been interpreting “one table two chairs” from different perspectives, he has taken the traditional Chinese opera stage set-up as a platform for artists from all around the world and different sectors to carry out experimental creations.After the year 2000, a series of festivals, including Festival of Vision – Berlin/Hong Kong, Festival of Experimenting Traditions, the arts festival of Book of Ghost, Toki Arts Week, and so forth, have been developed as exchange projects for masters and young artists of traditional and contemporary theatres. All these have fostered cross-regional, cross-cultural, and cross-disciplinary dialogues, experiments and collaborations amongst traditional performing arts.

 

Hong Kong and Belt Road Cities Tour 2019

The Interrupted Dream was premiered in 2018, at the Grand Theatre of the Hong Kong Cultural Centre, the top theatre venue in Hong Kong, as the key performance program of Hong Kong Belt and Road City-to-City Cultural Exchange Conference organized by Zuni Icosahedron which is a charitable non-profit making arts collective, and one of the nine major performing arts companies in Hong Kong directly supported by the government.

 

In the fall of 2019, The Interrupted Dream will be further developed and re-staged in Hong Kong, Singapore, Kuala Lumpur, Jakarta (proposed), Bali and Yogyakarta in collaboration with the respective local art institutions, academies.

The Team

Artistic Director, Director & Designer: Danny Yung
Assiatant Artistic Director & Producer: Cedric Chan
Associate Director: Liu Xiaoyi (Singapore)
Performers: Didik Nini Thowok (Yogyakarta), Shen Yili (Shanghai), Makoto Matsushima (Tokyo), Nget Rady (Phnom Penh),
Amin Farid (Singapore), Jason Kong, Sabrina Sng (Singapore), Nattapon Wannaun aka Guide (Hatyai)
Music Designer: Steve Hui
Video Designer: Rodney Ma
Lighting Designer: Alice Kwong
Sound Designer: Soloan Chung

Production Manager: Lawrence Lee
Technical and Stage Manager: Chow Chun-yin
Deputy Stage Manager: Zeta Chan
Video Operator: Johnny Sze
Assistant Stage Manager: Chan On-ki
Creative Assistant: Wu Zonglun
Wardrobe Assistant: Bonnie Chan
Stage Assistants: Chim Man Lung, Ray Chan, Suen Kwok Wah, Kwong Ka Chun

Administration Coordinator: Carol Woo
Documentation (Guangzhou Team): Feng Shunxu, Mai Zhaofeng, Sierra Chen, Tina Feng, Moriah Wu

Acknowledgements:
National Arts Council Singapore
Brian Eagen Lau
Lin Qiaoran

International Exchange Director & Producer: Wong Yuewai
Company Manager (Administration and Finance): Jacky Chan
Company Manager (Programme): Doris Kan
Senior Programme Manager: Bowie Chow
Programme Manager: Ho Yin-hei
Assistant Programme Managers: Rachel Chak, Ricky Cheng
Programme and Art Administration Trainees: Megan Hung, Stephy Yeung

Graphic Design: anothermountainman
Calligraphy (Poster): Didik Nini Thowok, Shen Yili, Makoto Matsushima, Nget Rady
Graphic Design Assistant: Coco Cheung
Promotional Video: Benny Woo
English Translation : Mona Chu, Moyung Yuk-lin

Partners

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