The fourth Contemporary Theatre Biennale is currently unfolding in Shenzhen, Guangdong Province, marking a significant event in the realm of avant-garde theater. Running from November 24 to December 3, this event brings together 12 theater works from six countries and regions, presenting a rich tapestry of contemporary theatrical dialogues with the world.
This year’s Biennale features an eclectic mix of nine Chinese and foreign dramas staged across urban spaces in Shenzhen. These performances offer audiences an immersive experience in avant-garde theater, blending traditional elements with modern interpretations. In addition to the performances, two drama master forums have been organized, providing a unique platform for artists and thinkers to engage in meaningful dialogue about contemporary theatrical trends. Three drama experience workshops also form part of the event, inviting visitors to immerse themselves joyfully in the world of theater. Complementing the theatrical performances are two drama-themed exhibitions, showcasing an array of music and images.
Artistic director Meng Jinghui, in his opening ceremony speech, emphasized the Biennale’s significance as both a showcase for dramatic works and a forum for artistic and intellectual exchange. He expressed his hope that the event would foster shared discussions on contemporary art and contribute to the development of drama.
The opening show of the Biennale was a reinterpretation of ‘Romeo and Juliet’ by British director Ben Duke and the Lost Dog Dance Company. This rendition added a contemporary twist, combining dance and dialogue to explore the midlife crisis of a model couple. Another highlight was US creator and performer Peter Mark’s unique take on ‘Hamlet,’ which employed a projection cube to represent Hamlet’s brain, offering a novel communication with Shakespeare’s classic.
In Beijing, the third solo exhibition of artist Bing Yi, titled ‘Bing Yi: The Eye of Chaos,’ is set to run until February 25, 2024, at the Mozhai Gallery. Bing Yi’s work spans a diverse range of artistic practices, including land and environmental art, site-specific architectural installations, music, literature, ink painting, performance art, and film production.
The exhibition showcases Bing’s latest masterpieces, employing her unique inferential archaeological methodology. It presents a grand narrative retold from a female perspective, exploring the intricate relationship between art and nature, literature, history, and customs. Central to the exhibition are two main series of works: ‘The Eye of Chaos: Huanxi Palace’ and ‘Dream within Dream within Dream.’ These series are the culmination of Bing’s five-year exploration into the origins of ink landscape paintings.
‘The Eye of Chaos: Huanxi Palace’ series, first exhibited at the Philadelphia Museum of Art in 2022, represents an organic amalgamation of Bing’s land and environmental art with traditional landscape painting. It also introduces for the first time in China her Taihang series and fully presents her Taihang Temple concept. The exhibition provides a deep dive into Bing’s artistic journey, offering a thought-provoking exploration of the fictional life of a Northern Song female artist named Hua.
These events in Shenzhen and Beijing represent the dynamic and evolving landscape of contemporary art in China. The Contemporary Theatre Biennale and ‘Bing Yi: The Eye of Chaos’ exhibition are more than cultural events; they are platforms for artistic innovation, intellectual exchange, and the celebration of contemporary creativity.
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