As role models for budding young
existentialists go, there are few more recognisable than Gregor
Samsa, the down-trodden salesman who morphs into a giant bug in Franz
Kafka's 1915 novella. This is something Wu Hsing-kuo, the maverick
driving force behind the Taiwan-based Contemporary Legend Theatre
since the company's inception in 1986, recognises in his new
multi-media solo stage version which he brings to Edinburgh
International Festival this month.
The production follows Mr Wu's equally singular
take on Shakespeare's King Lear, which Contemporary Legend Theatre
brought to Edinburgh three years ago. Then too, Mr Wu applied a sense
of isolation he gained while training in Peking Opera from an early
age. Similarly, as with Lear, he applies a very personal take on his
portrayal of Gregor.
“I
feel that my situation resembles Gregor,” says Mr Wu, “who
shoulders the responsibility for his family. From the perspective of
modern people, traditional Peking opera is not unlike that giant
monstrous vermin, which never leaves its home but is forced to a life
of solitude.
“I
have always been solitary. During the eight years in opera school,
from the ages of twelve to twenty, I was always assigned the roles of
historical heroes. Kafka said that 'Sometimes, I doubt that I skipped
childhood and went directly into adulthood.' Having been suppressed
in the process of growing up myself, that resonates. I liked running
in the woods. I liked singing. I liked bugs, and I never stepped on
one. I would feed a bug with flower petals, and watch it secrete silk
to form a cocoon, until it turned into a butterfly. Often I am very
touched, and learn that the meaning of life is to stay alive. I am
very moved by the simplicity and poetic quality of Kafka’s works.”
While
Mr Wu applies Peking Opera techniques to his performance, the sixty
year old is also keen on a constant sense of reinvention in his work,
hence throwing video into the mix.
“My
Shakespearean productions consist of adaptation and cultural
translation. This time, I adopt metatheatre, enacting not only
Metamorphosis, but also the stories of the author and the actor.
Though incorporating technology, this is no less a theatre of nature.
The stage is reminiscent of nature and our familiar environment,
leading us to a nature of our creation or imagination, and images are
employed to help the audience look into themselves. The images are
not designed to create visual impact, otherwise it would be a
critique of technology, and that is not my intention. Instead, I
hope to present poetic beauty to the audience. Indeed, this is my
most 'beautiful' creation. Beauty is my principle for the visual,
music, dance, and performance. I believe Kafka would agree with me
that the pursuit of beauty comprises the highest bliss in life.
“It is of utter importance and there should
be no limit in border-crossing. Tradition should be cherished. It is
the root, ethics, and wisdom of contemporary theatre and should be
honoured as such.
Mine
is a performance style that is both Eastern and Western, both
classical and futurist, and both distant and immediate. I call this
theatre 'unlimited theatre.' Only through such revitalization can
Peking opera survive and thrive in contemporary theatre.”
While
remaining in charge of the production, Mr Wu worked with a stream of
collaborators on his production of Metamorphosis. Numerous research
materials were provided by a Kafka consultant. Mr Wu then spent six
months reading and taking notes, before knitting together six scenes
taken from his researches. A libretto was then rendered into
classical modern verse by writer, Chang Ta-chun, while the play's
music was developed over four stages before being arranged with the
script. Set and costume alone took eight months to make, with the bug
costume and female costume alone taking three months. As Mr Wu
observes, “though this is a solo performance, it is not simple.”
Metamorphosis
has previously been seen on stage in 1969 when a young Steven Berkoff
played Gregor. Berkoff later directed another young firebrand, Tim
Roth, in a similarly physical style. While those productions were
undoubtedly physically demanding, Mr Wu's is a major feat of
endurance.
“It
is like being flayed,” he says. “I feel that I metamorphose as
well. Each scene requires solid technique in role shifting and
performance. For example, the bug wears a mask and heavy armour while
manoeuvring long feathers above his head. This is very challenging.
The sister’s role is also very demanding. She puts on make-up
while singing Kunqu opera, and she walks on stilts. I also
incorporate techniques from modern dance. The performance is a
hundred minutes long without an intermission and with quick costume
changes. In short, it takes enormous energy and stamina.
As
for Metamorphosis' enduring appeal, Mr Wu posits a defiantly
political note.
“It’s
a 'blow and a shout,' he says, which, in proverbial Chinese, is a
timely warning. “Those
with authority disregard others’ right to live and demolish our
nature. Kafka said: 'Only sons can make mistakes. Fathers never admit
themselves guilty.' He also said, we were born to deep debt, and
that the longer we live, the more we owe. Isn’t he right? Now,
every government is in debt. Metamorphosis speaks for young people,
for our dreams. Kafka’s writing wakes us up from deadly inertia,
and I am truly moved. I hope to echo him with my own story, leading
the audience into their labyrinthine mind so they can find freedom,
hope, and rebirth. Kafka said 'There are only two choices in life. Be
yourself or put up with reality.' Young people, stand up and keep
your head upright!”
Metamorphosis, King's Theatre, August10th-11th,
8pm, August 12th, 3pm.
The Herald, August 9th 2013
ends
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