Title of Project：Mother of the Earth—Music Experimental Theatre

Genre(s): Contemporary Dance. Traditional Opera. Physical Theatre. Other. Electronic. World Music. Crossover/Multimedia Theatre. Traditional Chinese Music.

GROUP:Artistic Nubes

BRIEF DESCRIPTION OF : Introduction Traditional Chinese theatre, one of the representatives of Chinese culture, gains its new life in the context of international communication. To enhance our cultural confidence and cultural consciousness, we endeavor to seek international expressions for our ethnic elements. The music experimental theatre, Mother of the Earth, is a meaningful trial in this sense: combining the east and the west music, integrating stylization of traditional Chinese theatre with western theatre, penetrating traditional Chinese theatre into western choreography, as well as fusing performing patterns of traditional theatre with modern stage lighting. Getting rid of the physical limitation of stage in traditional Chinese theatre, the story naturally came back to its birth place—the East, with the music as its soul, posture as its shape, light as its spirit. The play turns to the vocabulary of traditional Chinese theatre to illustrate the rhythm and circle of life. The Kun opera is characterized by elegance, gracefulness and implicitness, which strikes the keynote for this play. Quietness is the characteristic feature for the performance. The slow movements and graceful figures are used to represent ladies from ancient China, whose ideals can be interpreted as seeking ultimate quietness in life. Despite the authenticity and faithfulness to traditional Chinese theatre, the play synthetically applied the modern techniques to interpret the spiritual world of women. Stage is a good place to represent dreams. In terms of reflecting real life and thinking seriously about life, dream is one of the major topics for stage. Paradoxically, the simplest dream of mankind is the most perpetual one, which has no connection with growing up and maturity. My Creativity about This Play The story is narrated by music instead of by language. The integration of Kun opera music, ethnic music and modern electronic music depicts the gracefulness of classical eastern women, which is a mixture of kindness, resilience and strength. With a purpose to enhance self-awareness and self-worth among women, this play represents the collective image of modern women, self-confident, warm-hearted and independent as well as illustrates the eastern flavor and the revival of eastern aesthetics. By means of muslin, light and shadow, and projected images, this play captures the visual characteristics of the east. The flowing light and smog represents the spiritual elevation of women while the changing layers of light and shadow represent the passage of time. Traditionally, women are called Kun, which means the tolerance of the earth, the power of women as well as their quietness, warmth, mutual help, generousness and kindness. Yangyin Lamu said, “Awakened women will reshape the world into a better one.” Highlights of the Play I. Beauty is created by means of traditional techniques used in today’s context—the integration of music elements from Kun opera, ethnic music instruments and electronic music. With a history of over five hundred years, Kun opera has developed into a comprehensive art form. In terms of music, gestures and postures, as well costumes, it has become the image of Chinese beauty. The image of women represented in the play shares the same spirit and sensation with Kun opera, fairy and imaginative. Mother of the Earth has taken its inspiration from traditional Chinese art to achieve its unique characteristics. II. Visualizing the sound with performance to represent beauty According to the Chinese classic Yueji, poetry, music and dance are the three indispensible parts. The rule goes to this play, where poetry, music and dance integrate with each other and communicate. III. Breakthrough the limitation to communicate beauty—inheriting the traditional aesthetics from ancient people to have a dialogue between two generations on comprehensive sensation of beauty In watching this play, the audiences are not pure listeners; the performer is also not a story teller. Oppositely, the life story of women is segmented in five stages, and vividly narrated in light and shadow. The audiences play an active role during the performance, adding their own memory and thinking into each image of the play. Ultimately, the distance between audience and stage is significantly bridged. The three parties of writer, performer and audience develop the similar feelings with one another.

Please log in toand find more information, including detailed project description, photos, video links and contact person, etc.

PHOTOGRAPHS ：