Pingyao Tea House Theater (1) : Shanxi Opera Scenes Murals

Pingyao Tea House Theater. (July 2008)

Pingayo Tea House Theater is a recent rebuilt building, it was constructed during Ming Dinasty (around 1700 AD) at the best moment of Pingyao City. It is called Tea house because remains on it that special character of the "Chinese cabaret place", a theater where is possible to see in one evening, drama, opera, acrobatics, singing, magic and clowns while a dinner, and tea of course, is served.

Its stage hosts one company of Shanxi Opera, a regional style of Chinese Traditional Theater, offering scenes from this kind of Opera to hungry groups of Chinese turists. (It will be the subject of other posts)

There are, inside the Tea House Theater complex, and surrounded by traditional gardens, one long wall with clay made murals, in high reliefs o "altorelieve", showing scenes from Shanxi opera plays. Even the artistic work is not fantastic it is an interesting experience.

The amount of artistic depictions of theater artists and scenes of plays in China is comparable to the amount of religious images in temples or political scenes in palaces, that is something I have never seen in other part of the world. The social importance of theater before the Communist era was really remarcable, and these murals are a prove of it.

Video: Murals of Pingyao Tea House Theater

Shanxi Opera Clay Murals at Pingyao Tea House Theatre from Gustavo Thomas on Vimeo.
http://gustavothomastheatre.blogspot.com/2008/11/pingyao-tea-house-theater-shanxi-opera.html

Pingyao Tea House Theatre is one of some well preserved (and rebuilt) theatres inside Pingyao Ancient City in Shanxi province. It has many clay murals depicting scenes from Shanxi Opera

Photographs: Murals of Pingyao Tea House Theater

Murals of Pingyao Tea House Theater. (July 2008)

Murals of Pingyao Tea House Theater. (July 2008)

Murals of Pingyao Tea House Theater. (July 2008)

Murals of Pingyao Tea House Theater. (July 2008)

Murals of Pingyao Tea House Theater. (July 2008)

Gustavo Thomas: Murals of Pingyao Tea House Theater. (July 2008)

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Cambodia: A Circus Arena in Angkor.

Angkor was in my mind, before my visit in June 2007, an archeological site with astonishing temples considered one of the wonders of the world. It was that, of course. But Angkor was and is, even now and more and more, the capital city of a great empire with an impressive culture which influenced other groups all around the Indochina Peninsula: the Khmer culture. It had its own style in Art, Religion (even with Hinduism and Buddhism influence) and Urbanity.

Regarding Performing Arts, Khmer artistic manifestations were a wonderful source of fantasy and technical “codification”, as anyone is able to notice all over their buildings whose walls are full of carvings depicting dances and festivities.

Angkor was not only temples, it was a huge population (of around 2 million at its peak) living in a fastuous city. This people needed not only religion and food but spectacles as well, and one of them was the circus. The ancient city of Angkor had its own Circus Arena, similar to those Romans used to have: a large earthen surface surrounded by walls, on one side a place for spectators, on the other side “the arena” with towers and space for any event on it.
It is believed that the Khmer Circus consisted of different kind of spectacles with animals, actors and dancers, jugglers, acrobats, and tightrope-walkers. Like in Roman ages there were big scenes of hunting and war.

The principal attraction in this site is the “elephant wall”, a large 12th century wall with sculptures of dozens of elephants and several bas-reliefs depicting scenes of spectacles (1). Facing that wall and just imagining that world full of life I trembled with emotion. Today only ruins and stones lay there.

You will see a video showing just a part of my description. You’ll have to do your part, using the pause button and carefully watching every carving: then you will discover those acrobats, wrestlers, actors and dancers among hunting and war scenes. While seeing the towers you must imagine those ropes and their tightrope-walkers trying not to fall and doing anything to attract the spectators’ attention.

video: Angkor circus arena

There is not much information about the Khmer Circus, but you can visit the Blog of a Cambodian company that is trying to come to life again with this spectacle:

http://bongsal.wordpress.com

(1) This and other walls of the Circus Arena in Angkor are 350 meters long, all of them carved with images. The video only shows carvings depicting those with performing arts scenes, but there are religious images in a high percentage as well.

The Theatres of Gerasa (IV): A video of the Northern Theatre.

This is new addition to my Post on Wednesday, January 17th, 2007:

The Theatres of Gerasa (II): The Northern Theatre.

As I wrote in the other Jordan Theatre new posts, during my travel through Jordan in February 2004, I used to videotape with a nice but old camera. I recorded several tapes, but there was a problem, those tapes couldn't be easily put on internet, there were made in a not compatible format, so I spent more time than usual trying to change the format but I got it.

The Post of Wedenesday, January 17th has all the information about it.

Note: Gerasa is now called Jerash.

The Roman Theatre of Gadara, a rare jewel made from black stone. (II)

This is an addition of my Post on Sunday, January 7th, 2007:

The Roman Theatre of Gadara, a rare jewel made from black stone.

As I wrote in the other Jordan Theatre new posts, during my travel through Jordan in February 2004, I used to videotape with a nice but old camera. I recorded several tapes, but there was a problem, those tapes couldn't be easily put on internet, there were made in a not compatible format, so I spent more time than usual trying to change the format but I got it.

The Post of January 7th has all the information about it.

The Theatres of Gerasa (III): Video of the Southern Theatre

This is an addition of my Post on Saturday, January 13th, 2007:

The Theatres of Gerasa (I): The Southern Theatre.

During my travel through Jordan in February 2004, I used to videotape with a nice but old camera. I recorded several tapes, especially in this place, Gerasa; but there was a problem, those tapes couldn't be easily put on internet, there were made in a not compatible format, so I spent more time than usual trying to change the format but I got it.



The Post of January 13th has all the information about it.

Wuzhen (I): Two Chinese Opera Theatres in one beautiful water town.

Wuzhen, Zhejian Province, China.

Wuzhen is a fantastic small town, just a two-hour trip by bus from Shanghai. It's part of the so called "Water Towns",built between canals and small rivers, and very similar to Venice but without the urban structure that has made a success of the Italian City. All these water towns keep a traditional Qing architecture, but their charm is marred by the masses of tourists (mostly Chinese) going there and the consequences of these visits reflected on the dirty water and the bad conditions of the buildings. Zhouzhuang is the most famous of all of them, but we didn't visit it as we were trying to avoid the masses and pollution, and so we decided to go to this one, a little bit farther away and smaller, called Wuzhen(1). It was a fortunate decision, Wuzhen was full of surprises for us.

Wuzhen is divided in two parts of touristic interest: Xizha (West Wuzhen) and Dongzha (East Wuzhen). Xizha has a special charm, it has just been rebuilt and converted in a huge resort; the whole place is closed during the night and only hotel guests are able to enjoy its charm from 5 pm till next day.

Wuzhen Xizha Theatre

Halfway through the long and narrow main street of Wuzhen, a big gate with a sign marks the entrance to the theatre, then, further inside, a nice stone square opens to us, and at the end a simple building, inside of which is the hall of the theatre; a few steps more and we discover, facing us, one fantastic wooden structure, magnifiscent but simple, decorated but not excessively like other theatres (beautiful, of course) we find in Beijing.

There is no information about this Chinese province’s jewel, nor signs, nor brochures, nor guides who know something about the place, no books either or any Internet site talking about it; even so, the theatre speaks for itself. Because of the conditions of Xizha, just rebuilt and no masses of people walking everywhere any day, there are no regular performances, so there was no hope of seeing anything on stage those three days I stayed there.

At the time I visited (March 26th, 2007), the theatre had been open for just one month; many details could be seen without problem, while in other theatres they have been almost erased by time. There is a big open area in the middle, just for the public, with no roof, though three sections around it are spectator zones similar to "box seats" in western theatres; the wood had been recently varnished, and there were many carvings about Chinese Opera scenes, Buddhist and Taoist passages or simple fortune animals; I have to accept that even the golden carved figures were in good balance with the whole.

The Theatre, following a good practice usual in China's performing spaces, has a small museum where many costumes are in exhibition. As I mentioned before, there is no information about what is exhibited.

I visited the place twice, on different days, and because of that you see some part of the video with a raining ambiance and the other part with a sunny day.

Video: Whuzhen Xizha Chinese Opera Theatre

Slideshow: Whuzhen Xizha Chinese Opera Theatre

The Small Theatre in Wuzhen Dongzha

Xizha is pretty much more comfortable and nice for any touristicinterest, however it doesn't have the life Donzha has. With a very nice (but also in a bad condition) traditional area ,Dongzha is situated in the middle of the current city, populated, polluted and noisy like any other Chinese town. This is the most visited area with dozens of restaurants, souvenir shops and public buildings which are packed full of people. Such movement brings on much entertainment offers: museums, a colourful temple and two theatres with performances all day long. One of these theatres is for Shadow Puppet performances (I will have a special post for it), and the other one is what we’ll talk about here, the small Chinese Opera Theatre.

This is not a theatre itself, we could say it is an open air stage. In one part of the central square, surrounded by the temple, commercial and public buildings and next to the main canal, there is a small stage decorated as many Qing Dynasty Opera theatres(2). Small, but big enough to have two floors with make up rooms and one stage of about 4 x 6 meters. What’s remarkable is its roof, with some Chinese mythological wood sculptures and drama characters.

I didn't have the chance to see anything there, the performance schedules were the same in both theatres, and I preferred to see the Shadow Puppets (3). I didn't regret it and you'll see why when I post about my experience later.

Video: Wuzhen Dongzha Chinese Opera Stage

(1) Not to visit Zhouzhuang had risks of course. First of all, I missed the best of traditional Water Town architecture in the region.
(2) I'm not a scholar and I can make mistakes. In my point of view this small theatre is similar (in different scale, of course) to those in the Summer Palace and The Forbidden City in Beijing, Qing Dinasty’s best examples.
(3) I had the intention to record that shadow puppet performance; there was the chance to record the same performance facing the stage and from behind the stage.

China: Court theatres in the Qing Dynasty. (Part I) The Grand Stage in the Summer Palace in Beijing.

In October 2005, walking as a simple turist through the huge complex of the Summer Palace in Beijing, among its fantastic imperial buildings, I found one of the most beautiful chinese structures I’ve ever seen, the Grand Stage or Daxi lou.

I’d rather more than talk about my experience watching it, to share the information I found about it. At the end (I know it) my experience is felt with my photographs and videos.

This is the first ocassion I made use of scanned photographs besides those of my own, but it worths.

Court Theaters in the Qing Dynasty.

In the period of Emperor Kangxi, an administrative structure called the “Southern Repository” was set up to administer court theatrical performances and training, in order to serve various royal celebrations and festivals. In 1827, the Southern Repository was hanged to the Shengping Office, In the palace and royal gardens, stages were built especially for performances. All these stages boasted elegant and exquisite architectural styles. (1)


Stage complex at Tangle Garden in Old Summer Garden.


This first theatrical complex was a three-storey stage and was located at Tangle Garden in Yuanming Yuan (Old Summer Garden), but was destroyed by fire. (2)






The Southern Repository Stage (3)


The Southern Repository Stage was built in the 18th century and used for rehearsals. There was an entrance and an exit at the back of the stage. The entrance resembled the gate of a temple which symbolized a general going out of the city for battle and a minister coming back to court through the temple gate. (4)
(Foto)

Stage at the Imperial Mountain Estate in Chengde

This three-storey stage was located in the Fushou Garden at the Imperial Mountain Estate, but was destroyed by fire. (5)




Deheyuan Theater in the Summer palace. The Grand Stage. (6)


Deheyuan Theater in the Summer Palace is located in Deheyuan (the Garden of Virtue and Harmony) of the Summer Palace. It was the largest theater in Qing Dynasty and it is also the best’preserved and largest-scale palace theater of ancient times in China.

Deheyuan Theater, also know as the “cradle of Beijing Opera”, was originaly built in 1891 and completed in 1895 during the reign of Emperor Qianlong. It cost 700,000 taels of silver. It is a complex structure comprising a three storey building for performances and two-storey make-up building. It is a theater where Emperor Guangxu and Empress Dowager Cixi watched dramas. The Empress, a lover of opera, would on occasions dress as a member of the troupe, her interest in Beijing Opera promoted the development of Beijing Opera to some extent.

Video: Daxi Lou Grand Stage at Summer Palace, Beijing. 2005.

The Grand stage (Daxi lou) is 21 meters in height and 17 meters wide. It consists of three storey, each having its own entrance and exit. The top storey is called Futai, the middle Lutai and the bottom Shoutai, where differents operas and plays could be peformed at the same time (7).

The theater was designed to expand acoustic resonance and to facilitate performance of immortals and ghost dramas. The small building on The Shoutai was were the band accompanied. There were also performance props such as seven “suspending well” on the ceiling of Shoutai, one “water well” and fice ponds, spinning board, a windlass and a high-pressure water machine which made it possible to enact scenes of gods coming down to earth, apparitions fleeing underground and water spewing forth. The “immortals” could descend from above and “ghost” turn up from under the ground.

Distinguished Beijing Opera actors of the Qing Dynasty, like Yang Xiaolou (8) and Tan Xinpei (9), performed here for the Empress Dowager.

This Gran Stage (Daxi lou) inside the Summer Palace, the Free Tones Pavillion (Chang Yin Ge) inside the Forbidden City (also called "Pavillion of Cheerful Melodies"), and the Clear Voice pavillion in Chengde Summer resort, Hebei Province, were renowned as the three great stages during the Qing Dynasty (10). The Summer palace Grand Stage is the largest of all them.




(1) Page 192. “Pictorial Handbook of the History of Chinese Drama”. Institute of Chinese Drama, China Academy of Arts. People’s Music Publishing House. Beijing, 2003
(2) Page 193. “Pictorial Handbook of the History of Chinese Drama”. Institute of Chinese Drama, China Academy of Arts. People’s Music Publishing House. Beijing, 2003
(3) I couldn’t find where this place is exactly located, Summer Palace or Forbidden City.
(4) Page 193. “Pictorial Handbook of the History of Chinese Drama”. Institute of Chinese Drama, China Academy of Arts. People’s Music Publishing House. Beijing, 2003
(5) Page 193. “Pictorial Handbook of the History of Chinese Drama”. Institute of Chinese Drama, China Academy of Arts. People’s Music Publishing House. Beijing, 2003. Of course this can't be the theatre we can see today in Chengde, inside the Lhasa Palace replica, even do, I have my doubts, it could have been rebuilt.
(6) Most of the information about The grand Stage in the Summer Palace come from the sight itself (Information sight); Page 194 of “Pictorial Handbook of the History of Chinese Drama”(Institute of Chinese Drama, China Academy of Arts. People’s Music Publishing House. Beijing, 2003); and Page 66-71 of “Classical dramas and Theaters in Beijing” (Beijing 2005)
(7) “Fortune”, “Salary” and “Longevity” stages.
(8) Yang Xiaolou (left in the picture) (1878-1938) came from an actor’s family and carried on his father’s excellence in the wusheng (warrior) role. Coached by his adopted father Tan Xinpei, yang was called the “Master of Wusheng”. (“Pictorial Handbook of the History of Chinese Drama”… )





(9) Native of Hubei, Tan Xinpei (1847-1917) came from an actor’s family and was first apprenticed to Cheng Changgeng. It was specialized in the laosheng (old soldier) role and is considered “the king of theatre”. His famous performances were done in two important operas: Dingjun Mountain (Dingjun shan) and Yangping Pass (Yangping Guan). He standardized the use of Hubei accent and zhongzhou intonations to form his own singing style. He created the first school for Beijing Opera, the Tan School. He and Wang Yaoqing were innovators and their innovations had vast effects on the development of Chinese drama. (“Pictorial Handbook of the History of Chinese Drama”…; “L’Opéra de Pékin. Quintessence de la culture chinoise.” By Yu Bian. Editions en Langues Étrangères. Beijing, 2005) )

(10) It is possible to visit today this three-storey stage inside an astonishing Lhasa Palace replica.

The Theatres of Gerasa. ( II ) The Northern Theatre.

I’m not a scholar on Roman Architecture but I love Theatre. After my visits to this and other ancient complex had to make a research about those places, it sounds a little bit cold but anyway data is data and it could work for any purpose.

The North Theatre complex is composed of the North Theatre itself and a 'colonnaded plaza' in front of it where a staircase led up to the entrance.
Smaller than the South Theatre (Exterior Diameter 43, 47m, orchestra Diameter 14,33m), its orientation is determined by the northern decumanus (a decumanus was an east-west-oriented road in a Roman city, military camp, or colonia.) upon which it opens and from which it is approached. Built in 165 AD our Northern Theatre could be an Audiom, a roofed theater.


Two vaulted passages formed the entrance to the orchestra, and spectators entered through passages between the upper rows of seats.

The cavea shows the usual arrangement of four cunei in the lower half, and eight in the upper half. At the top of the upper section of the cavea there was scarcely room for passageway and colonnade. The theatre itself probably had two main phases during its lifetime. It was dedicated, and probably completed, in AD 64/65.
It was a small (originally had only 14 rows of seats), probably used for poetry readings, meetings or more modest performances than the large dramatic events that would have taken place in the city's larger Southern Theatre. The theatre may also have been the city council's meeting hall. It was modified several times and probably enlarged in the first quarter of the 3rd century. It finally went out of use as a theatre by the 5th to 6th centuries, and in later centuries, many of its stones were taken for use in other buildings.



On some of the seats of the lower cavea are inscribed in Greek the names of the voting tribes (phylai) that were represented in the bouleutirium or city council, except one tribe named after the Roman Emperor Hadrian, the others are named after Olympian gods.
The theatre's expansion in the first quarter of the 3rd century AD included the addition of eight rows of seats, doubling the theatre's capacity to around 1600 people.

The three best preserved external vomitoria (sorry, no photos), at the western end of the upper auditorium, show their original construction of three independent, semicircular arches rising towards the exterior with evidence of large wooden doors that could have been opened or closed to control access to the theatre.



The original scaena wall, facing the audience from behind the stage, was dismantled and replaced by a more complex scaena composed of two parallel wal1s. The elaborate scaenae frons was probably two storeys high, and was adorned with colored marble, free-standing Corinthian columns and broken entablatures, behind which were semicircular niches decorated with mosaics.
There is no information (I didn’t find anything) about any famous performance staged there or any important author; as many other ancient places I had to use my imagination to recreate life here, and it was a very interesting moment.

My next Roman Theatre to visit would be in Petra the stone-city in the middle of a Jordan semidesert region.

The Roman Theatres of Gerasa. ( I ) The Southern Theatre.

My travel through Jordan in February 2004 was full of surprises, Jerash (or Gerasa, its ancient name) was one of them. I knew was going to visit a well preserved Roman City but I have to accept I didn’t know anything about that place, I only was interested because I had read Jerash had two theatres (both brilliant pieces of Architecture) and for me that was worth the journey. Now I can say I was very lucky visiting them.
Gerasa located 48 km north of Amman and nestled in a quiet valley among the mountains of Gilead, is the grandeur of Imperial Rome being one of the largest and most well preserved sites of Roman architecture in the World outside Italy. It’s a city complex that once was a prosperous commercial zone and part of the Decapolis (we already know about the Decapolis, if not see the post about the theatre of Gadara). Built in the 2nd century BC the city was conquered in 63 BC by the Roman General Pompey. The grand theatres and spacious public squares, plazas and baths, the Roman Cardo (The Colonnade street) running 700 meters north from the Oval Plaza and pass sky-piercing columns flanking from both sides in Gerasa make this site truly an archaeological park.
The Crusaders described the city as uninhabited, and it remained abandoned until its rediscovery in 1806, when Ulrich Jasper Seetzen, a German traveler, came across and recognized a small part of the ruins. The ancient city was buried in sand. It has been gradually revealed through a series of excavations, which started in 1925, and continue to this day.

The Southern Theater.

The construction of the theatre begun at the end of the 1st century AD (During the reign of the Emperor Domitian) and was completed in the early 2nd century. On its completion, it became one of the most splendid civic monuments in the developing city and certainly the finest of its type in the whole province. It was so famous than its novel design directly influenced the builders of the Trajanic/Hadrianic theaters of Taormina and Benevento. The theater at Taormina used illusionistic column effects closely similar to those used in Gerasa.
Located In the western-North side of the Zeus temple in the complex, with outer diameter of 70.5m the southern theatre shows an impressive image of Roman Architecture. Two arched passages lead into the orchestra, and four passages at the back of the theater give access to the upper rows of seats. Some seats could be reserved and the Greek letters which designate them can still be seen. Climbing more steps, the top row of seats affords an excellent view of the Jerash ruins.
The cavea of the auditorium was divided into two sections, with a wide terrace (diazoma) describing the full half circle between them. The lower half was built into the side of the hill. While the top half was built above it. Although the auditorium has survived remarkably well, the top rows of seats are missing, and one cannot be sure of the exact original number.



The acoustic is remarkable, it allows a speaker at the center of the orchestra floor to be heard by the entire auditorium without raising his voice.
The front of the stage decorated with pediment and arched niches was divided into four sections with pedestals between them. Each section has a central pedimental niche flanked by arched niches. These elaborate architectural compositions are a common feature of Roman theatres. The wall rising behind the stage, the Scaenae Frons is pierced by three doors used by the performers to enter and exit the stage from the sides. The Scaenae Frons would have had second storey repeating most of the decorative and architectural elements of the lower level.



The Theater seats more than 3000 spectators and serves today as the primary venue for the Jerash Festival of Culture and Arts, that means part of the theatre has been rebuilt. Much of the outer (north) wall of the theater is a modern reconstruction. People who know about it say the rebuilding of the rear wall behind the scaenae frons must be regretted and run the risk of endangering the validity of the whole structure. Happily, the greater part of the theatre is completely genuine.
A curious note about the site museum: not much to see because most of the greath pieces are in Amman, but they have in exhibition some ancient theatre coins-tickets (see photograph).


Some data comes from internet sites and from the next article:
N. Haddad, T. Akasheh. DOCUMENTATION OF ARCHAEOLOGICAL SITES AND MONUMENTS:
ANCIENT THEATRES IN JERASH. CIPA 2005 XX International Symposium, 26 September – 01 October, 2005, Torino, Italy

The Roman Theatre of Gadara, a rare jewel made from black stone.

I was in Gadara in February 2004 during a 9-day trip through Jordan. On the top of a hill surrounded by the Tiberiad lake, the Galilee Sea and the Golan there is an amazing Roman Citadel built entirely from black stone. Gadara was one of the Decapolis, or "Ten Cities," that were originally inhabited primarily by Greek people who settled in the region after the time of Alexander the Great's conquest. After the Romans occupied the region on about 65 B.C., Gadara was made the capital of the Roman province of Peraea. This city was known since Greek times because of its poets and philosophers such as Filodemo of Gadara and Oinomaos. It was also important for religious reasons, some Jew and Christian myths originated there and it is said Jesus was here during his adolescence, and some passages of the new testament mention the city as a stage of his fight with the devil.

In Gadara there are two theatres: on the north side of the citadel was the biggest, but now it’s only ruins; the west theatre near the citadel is smaller but is the best preserved of them. Built completely from basalt, the theatre offers a strange and original image of ancient Roman Theatres. Because of my background, basalt stone is familiar to my memory, I used to lived in the south of Mexico City in an area where volcanic stone was common. So, coming across this kind of material on the top of a hill in Jordan with a biblical and classical background was truly surprising.

There is not much of the proscenium left to see (only we can notice the base of the three classic gates), but the rows of seats and some tunnels are very well preserved. There are even some vomitories left in good condition and some VIP seats still keep some details of their decoration.

With the wall behind the stage destroyed, the view from the seats is spectacular (remember we are on the top of a hill). Of course, this view was not the originally intended one for the Roman audience.




For more information about Gadara here’s a link to a website:
http://research.haifa.ac.il/~mluz/gadara.folder/gadara2.html#intro

The Roman Theatre of Bosra, the king of the ancient theatres.

Video: Ancient Roman Theatre of Bosra (2005)

I lived in the Middle East for almost three years and travelled all over the region looking for ancient theatres and performing arts. I knew Romans had built many of their best theatres in the Middle East and I wanted to see them. I visited one in Lebanon (Byblos), two in Syria (Palmyra, Bosra) and four in Jordan (Gerasa, Gadara, Amman, Petra). The best preserved of them all was the theatre in Bosra, a village in the south of Syria, close to the border with Jordan. It was built in the second half of the II century. It is the best preserved because for hundreds of years the sand of the desert covered the fortress built by Muslims and the original building within.

With an exceptional acoustic it is 102 meters long and it could seat more than 12000 people.

Slideshow of photographs of the ancient Roman theatre of Bosra (2005)

The video and photographs were taken in January 2005. I'm very sorry if they are not the best to show the magnificence of the theatre but they are my only way to share this visit. I hope you enjoy them.

You can find more information about the theatre in this address: http://www.bosracity.com/pages/theatre.htm