I hear that
audiences in Beijing and Shanghai are currently flocking to theatres to see a
stage version of Mama Mia! sung in
Mandarin. Given that musicals are not part of the Chinese cultural tradition
this is a curious phenomenon and one which raises questions about the
globalisation of culture. Does, for example, globalisation inevitably involve
cultural dilution or can it – more positively – be instrumental in cultural
cross-fertilisation which leads us to rich veins of new creativity? The
question is more likely to end in a discussion than a conclusion.
I was
recently asked a question: “Do you go to the theatre often?” to which I replied
“No, not really” before going on to roll out my rehearsed excuse for this
cultural blind-spot which asserts that there are too many productions of the
same old plays. Who needs yet another version of The Cherry Orchard or of Hamlet
? I’ve seen them before. Can’t we have something new so that I might be
persuaded to buy into the concept of theatre more readily? But I was told that
my response is typical of one who presumes that theatres are where you go to
watch plays; and that plays comprise scripted dialogue, spoken by actors and
visually enhanced by scenery, props and the occasional special effect – all
neatly packaged into periods of time known as ‘acts’, some of which are
separated by ice-cream breaks and the whole of which commences at just the time
when you might like to be settling down to dinner.
Over the
past few months, therefore, I have challenged my assumptions by making an
effort to see more theatrical performances (I deliberately refrain from using
the word ‘play’) than usual. I have seen them in a variety of venues: a cinema,
a room over a pub, a converted industrial space, an un-converted industrial
space, an old music-hall, a modern provincial theatre and yes, a more
traditional West End theatre! Not one of the performances I saw could be
described as fitting the stereotype of my prejudice. Each one of them
challenged some aspect or other of that stereotype and compelled me to
reconsider.
Reconsidering
prejudices can be an uncomfortable process, as in this case, which required
that I buy tickets in order to subject myself, voluntarily, to whatever
proposition was being presented. I can only guess at their motives but I assume
that, when they are writing a play or devising a performance, the creators do
not do so aimlessly. They must have a positive intention to appeal to their
audience; perhaps to inform, to entertain, to stimulate or to shock. In some
cases I find the intention is clear; in others it is less so and I, their
audience, am entitled to make up my own mind as to the point, or pointlessness,
of the piece. I have come across at least one suspected instance of “the
emperor’s new clothes” but, set against this, many positive experiences of
pleasure and enlightenment.
I have
emerged with a resolve to “go to the theatre” more often but; how do I decide
which performances to attend and which to shun? As a rule of thumb I would opt
for the novel and against the repeat performance. The Cherry Orchard and Hamlet
are undoubtedly classics of their
genres but to see them performed yet again, albeit by different companies and
in different ways, would encourage habitual behaviour patterns just when I am
trying to shake them off. My inner critic is telling me to search instead for
the future classics of the theatre and I am not about to rule out Mama Mia! sung in Mandarin until I have
seen it with my own eyes, heard it with my own ears and engaged fully with the
cultural globalisation debate that it generates.
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