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The People’s Artist Hoa Binh (carrying a bunch of flowers) at a review meeting for school theatre project in Binh Dinh. |
Being an artist and a manager for over 40 years, People’s Artist Hoa Binh has always devoted her time to Tuong (Vietnamese classical drama).
How do you feel after your retirement from the stage?
I’ve missed everything for I devoted my life to the Dao Tan Tuong Theatre. At present, the Theatre’s artists have been preparing for the national professional stage festival 2010 and it seems there is now a wave of nostalgia for the old days in my memory.
It means that you haven’t completely retired…
That’s true because Tuong art has become a part of my life. I now have much time to know more about the social issues and I was a bit anxious about the operation of stage as well as Tuong art.
I was invited to join the judge panel of the Vietnam Stage Artists’ Association. I’m really happy to continue my job but with a different position. I will always try to devote my energy to the stage.
What do you think about present-day Tuong art?
Tuong theaters and troupes have still operated, but the quality of Tuong plays has gone down. The stage as well as Tuong art has showed no signs of development, let alone the shortage of young artists.
Which difficulties is Tuong facing now, from your point of view?
Tuong art is now facing two big issues, that is, the shortage of young artists and new plays. Many students annually enroll for Tuong classes at Binh Dinh Culture and Art Secondary School; however, some of them often give up their study and some graduates could meet requirements. That is not their fault. It is the Ministry of Education and Training’s curriculum which causes this.
They, for example, study their majors in the daytime and other subjects at nighttime, so they have no time for review. Also, the number of periods for majors is not enough for them to thoroughly understand all issues.
The second problem is the shortage of new plays. The Dao Tan Tuong Theatre has only performed old plays in the past few years. The audience, particularly the young, could hardly be interested in the old plays.
There were also some new plays but they often follow an old formula because the authors worry they will lose the features of Tuong.
What need to be done to overcome the difficulties?
One of essential measures is to change the training method. First-year students, for instance, will be sent to study at Dao Tan Tuong Theatre. They will spend two years studying the extracts of plays and practicing.
If possible, I think that we should perform some extracts, helping students have more chances to act with experienced artists. This is expected to be very useful for young people.
Also, composing camps should be held more frequently, attracting young writers. Another important issue is that there should be cooperation among Tuong troupes.
The Dao Tan Tuong Theatre’s “Hon Viet” (Vietnamese soul) play will be performed at the national professional stage festival taking place on January 8. What do you think about the play?
I have hopes of the play. It is expected to become a typical play bringing fame to Dao Tan Tuong Theatre and Binh Dinh province – “the land of Tuong”.
Are you selected to become a member of the judge panel at this year’s festival?
This is unknown for this must be kept in secret.
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