On a nameless deserted island, an old couple repeat the same actions all day long. Wang Sheng weaves bamboo strips, while Qianniang fetches water in a basket. They drone on and on, but only toward the two chairs in front of them. One day, they invite everyone to visit, eagerly waiting for their guests to unveil the meaning of life. While waiting, they see themselves “greeting” old friends, first loves, their children, and even the emperor. Finally, one of the long-awaited guests comes, however, he is a mute…
The Experimental Kunqu Opera The Chairs is adapted from a play of the same name by French playwright Eugène Ionesco who is hailed has one of the pioneers of the theatre of the absurd. Staged on a set with only one table and two chairs, the classic setup for traditional Chinese operas, this play creates a scene filled with multiple “invisible chairs and characters”, coming back and forth, represented by invisible figures and props that can be perceived through the performers’ singing, dialogues, gestures, and actions. Besides, the alternations of traditional roles for different sections, and the exploration and innovation of Kunqu singing styles, unveil the different relationships and statuses of the characters. While retaining the essential philosophical and absurd touch of the original play, this production explores ultimate questions about freedom, life and death, love, among others.
Be it Wang Sheng weaving bamboo strips while Qianniang fetches water in the beginning, or the invisible guests that they later envision, they all serve as a metaphor for the old couple’s careers, romantic lives, friendships and family bonds throughout their lives. The absurdity, nothingness and anti-theatre nature of this play pose a huge challenge for the performers. Nonetheless, the setting of virtual chairs and characters perfectly tally with the traditional opera. The two actors’ slightly exaggerated body movements and natural emotional changes highlight the loneliness of the empty stage and vividly externalise the desolation of the spiritual world. Perhaps in the heart of everyone there is a deserted island surrounded by vast waters without any boats available to connect with the outside world. The “village of lights” in the eyes of Qianniang stems from her passion for life and pure pursuit of love, which evokes some warmth and courage amongst us despite the despair and loneliness.
