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- W2313015074 abstract "For two weeks in August 1988 was privileged to participate in a dixi training course led by Mr. Shen Fu Xing, an artist and researcher in dixi, and Mr. Ma Guo Cheng, a farmer from Tao Guan village and performer of the form known also as tiao shen: the dance of the gods.1 The two Chinese were in London as part of a four-week intercultural summer school in masked performance organized by Pan Project, an intercultural performance ensemble, at Goldsmith's College. The first week involved an exploration of the mask within the European tradition, focusing primarily on the work of Lecoq, and was led by John Martin and Jacqui Chan of Pan. For the second and third weeks the group was split into four for work with the master teachers: Akira Matsui (noh), Nyoman Wenten (topeng), Mapopa Mtonga (nyau), and the dixi.2 During the fourth week we created our own masks and short performance pieces. Pan had invited the dixi teachers after Jacqui Chan had seen the only dixi troupe to perform outside China at the 1986 Festival D'Automne in Paris. None of the five participants in the dixi class, however, had any previous knowledge of the form except that it was masked and had certain affinities with Beijing Opera. No one was especially aware that their ignorance was shared by almost everyone in the world outside Guizhou province. Nor did they know that this was the first time anyone outside of China was to gain access to the basics of dixi performance technique. A more immediate and pressing problem than our ignorance of dixi was the absence of a shared language with our teachers. All questions had to be put through an interpreter and, inevitably, despite the excellent work of Josephine Riley who had studied in China with the Beijing Opera, some aspects of dixi remained inaccessible to us. However, by the end of the training period, Shen Fu Xing was able to say: I never believed people could reach such a good standard in two weeks. This was very amusing because we had very rapidly developed the absurd notion that dixi did not possess a system of actor training; that the performer acquired his skills by merely watching performances. Struggling to remember the complicated sequences, we were relieved to make the discovery that it takes seven years to become an accomplished dixi performer." @default.
- W2313015074 created "2016-06-24" @default.
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- W2313015074 date "1992-01-01" @default.
- W2313015074 modified "2023-09-27" @default.
- W2313015074 title "Fragments of a Dixi Training" @default.
- W2313015074 doi "https://doi.org/10.2307/1146201" @default.
- W2313015074 hasPublicationYear "1992" @default.
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