Opposite page photography: Chen Xu. Right photography: Wang Jing. Both images courtesy of Melbourne Festival which saw 18 performances and rehearsals in eight days across four was programmed as part of the Rhinoceros in Love Chinese cities as Melbourne Festival in 2011, in partnership with Festival (Adelaide), Brisbane Festival and the well as participating in seminars on the Australian performing National Theatre of China. The production was one of arts industry for local arts managers in Chengdu and Beijing. the first productions of contemporary Chinese theatre The research visit also led to the Melbourne Festival to tour Australia, featuring the work of Director Meng commissioning the contemporary dance work based on Fault Lines Jinghui and Writer Liao the 2008 Sichuan earthquake. Following the Christchurch New Yimei. Performed in Mandarin with an English Zealand earthquake, Brett Sheehy made the decision to invite New translation, it broke new ground in engaging Australian Zealand choreographers Sara Brodie and Ross McCormack to and local Chinese audiences, particularly younger develop this work with China’s renowned Le Shan Song & Dance audiences, with its blend of drama, comedy, music, Troupe from Sichuan Province. had its World Premiere Fault Lines social commentary and insights into experimental at the Melbourne Festival in 2012 in partnership with Christchurch Chinese theatre. Arts Festival and in association with Playking Foundation. The programming and commissioning of these two works Its inclusion was a result of a research visit to China in demonstrates the value of country’ research and the ‘in November 2010 by Australian Festival Directors and Arts Centre development of strong people-to-people contacts and networks. The Programming Managers selected and led by Carrillo Gantner AO, visit and subsequent success of these two projects also Chairman of the Melbourne Festival, at the invitation of, and demonstrated that there was a strong interest from Australian arts sponsored by, the Chinese Ministry of Culture. Brett Sheehy, managers and audiences in understanding contemporary Chinese Artistic Director of the Melbourne Festival was in the delegation life and social issues.
Opposite page photography: Chen Xu. Right photography: Wang Jing. Both images courtesy of Melbourne Festival Rhinoceros in Love was programmed as part of the Melbourne Festival in 2011, in partnership with Festival (Adelaide), Brisbane Festival and the National Theatre of China. The production was one of the first productions of contemporary Chinese theatre to tour Australia, featuring the work of Director Meng Jinghui and Writer Liao Yimei. Performed in Mandarin with an English translation, it broke new ground in engaging Australian and local Chinese audiences, particularly younger audiences, with its blend of drama, comedy, music, social commentary and insights into experimental Chinese theatre. Its inclusion was a result of a research visit to China in November 2010 by Australian Festival Directors and Arts Centre Programming Managers selected and led by Carrillo Gantner AO, Chairman of the Melbourne Festival, at the invitation of, and sponsored by, the Chinese Ministry of Culture. Brett Sheehy, Artistic Director of the Melbourne Festival was in the delegation which saw 18 performances and rehearsals in eight days across four Chinese cities as well as participating in seminars on the Australian performing arts industry for local arts managers in Chengdu and Beijing. The research visit also led to the Melbourne Festival commissioning the contemporary dance work Fault Lines based on the 2008 Sichuan earthquake. Following the Christchurch New Zealand earthquake, Brett Sheehy made the decision to invite New Zealand choreographers Sara Brodie and Ross McCormack to develop this work with China’s renowned Le Shan Song & Dance Troupe from Sichuan Province. Fault Lines had its World Premiere at the Melbourne Festival in 2012 in partnership with Christchurch Arts Festival and in association with Playking Foundation. The programming and commissioning of these two works demonstrates the value of ‘in country’ research and the development of strong people-to-people contacts and networks. The visit and subsequent success of these two projects also demonstrated that there was a strong interest from Australian arts managers and audiences in understanding contemporary Chinese life and social issues.