CHINA, TRADITIONAL CHARACTERS

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1 CHINA, TRADITIONAL CHARACTERS TOPIC, TOLOSA PUPPETS INTERNATIONAL CENTER (

2 It comes without saying that China is a country of huge contrasts: while it aims to occupy a leading position in world economy and politics, it is also struggling to keep its traditions alive. Not even the most famous and unsuccessful Cultural Revolution either managed to wipe its refined cultural expressions off the map or to get rid of the conventions and customs its inhabitants pass on from generation to generation. We can find the categories of the Chinese traditional theatre among these keenly preserved traditions, especially on the millenary art of puppetry, Puppets can be grouped into six major categories according to the role (xindan) they play in the story. These categories have a series of features, gestures, and appearance that characterises them and are easily recognisable for Chinese viewers, regardless of the subject or the story being told in each play. Certainly, each author contributes with their own input, their signature, although always maintaining the basic features that shape the character. Through this exhibition our purpose is to disclose the differences among these six puppet archetypes, so the viewers are able to tell them apart. We have had the invaluable collaboration of Simon Wong, director of the Ming Ri Institute in Hong Kong, who also knows Tolosa and its International Puppet Festival, Titirijai, very well. He has also advised us on the purchase of the valuable Chinese puppet collection shown in this exhibition, a selection that already belongs to the holdings of the Museum of the Tolosa Puppets International Center, TOPIC. The history behind Chinese puppetry is long: Puppets come from a rich period called Han from over 2000 years ago, when they were used to celebrate ceremonies at wealthy people's funerals. People believed these wooden puppets were going to cross to the other world with the deceased and become their friends or servants. At the same time, they began to build shadow puppets using leather and cardboard in order to practise magic and cast spells. Witches and wizards acted out for the relatives of the late to allow them to see the deceased through the shadows that way the living did not feel as sad after their lost. When the shadow or wooden puppets met the storytellers they became one of the biggest popular amusements in Chinese tradition. Even scenic arts imitating puppet and shadow gestures arose, as the Beijing opera or Kunqu. UNESCO declared Chinese shadows, as a whole, Masterpieces of the Oral and Intangible Heritage of Humanity in 2009.

3 CHINA, TRADITIONAL CHARACTERS EXHIBITION This exhibition consists of approximately 110 Chinese shadows, all property of the Tolosa Puppets International Center, TOPIC. In the display it is possible to appreciate the four main techniques of puppet handling: shadows (requiring a differentiated museography from the rest), string, hand, and rod. It was available at TOPIC from March 20, and remained open until June that year. The exhibition is structured around the aforementioned six character archetypes. The first group consists of the Sheng, or 'grown up male characters', comprising two more others: the Wu Sheng (warriors) and the Xiao-Sheng (knights). Dan is the second group, meaning 'female character'. A traditional Dan takes in the Qingyi (tragic ladies), Huan Dan (cheerful, intelligent and charming girls), Lao-Dan (old women) and Wu-Dan (heroines).

It was available at TOPIC from March 20, and remained open until June that year. The exhibition is structured around the aforementioned six character archetypes.

4 The third archetype is made up by the Jing, either masked or strong natured men. A kind of character only to be found at Chinese puppet theatre. Their costumes and faces clearly show the strength of their personality, be them honourable or evildoers.

5 They are followed by the Chou, either fools or fun and pleasant characters that make the audience laugh. They can be men or women, good or bad, smart or silly, etc. Another noteworthy character in Chinese puppet theatre. One other group is that of the Lao Sheng, literally meaning 'old man with beard in its chin'. Lao Sheng sing and talk with a deep voice coming from their abdomen; they represent the principles of society in the story, playing a leading role in the transmission of values from generation to generation.

One other group is that of the Lao Sheng, literally meaning 'old man with beard in its chin'.

6 And finally there is the Sheng Guai, extraordinary mythological figures capable of flying and swimming, and with different talents as impersonating others, fire breathing, doing somersaults, etc. It's usually the character of choice for Chinese audiences.

talents as impersonating others, fire breathing, doing

7 TECHNICAL DETAILS - Room: This exhibition is designed for a undivided, multi-purpose and versatile space of approximately 200 m 2. Nonetheless, the puppet selection and display can be adapted to smaller areas, e.g. doing without the three shadow screens of which assembly, volume, and lightning requirements might cause difficulties during the set-up. The room should measure no less than 3 m in height. - Needed material: Electricity: At least, three power points (220 V; W). Lightning: 130 spotlights. Nevertheless, lightning can also be accommodated to the means and capacity of the different spaces. Personnel It takes at least two people to load and unload the pieces, as well as a light technician to correctly set the illumination once everything is in place. In addition, a maintenance technician familiar with the room to come every now and them would be desirable in order to solve the questions that might arise during the set-up. Finally, presence of staff during the display is essential. Time: The set-up takes 7 days (5 without the shadow screens), and 3 more days for it to be dismantled. During these days it might be necessary to extend the opening hours of the room for the process to be carried out adequately. In addition to the exhibition itself, TOPIC can offer parallel activities such as Chinese puppet performances or workshops on Chinese shadows. These activities would have to be budgeted separately.

doing without the three shadow screens of which assembly, volume, and lightning requirements might cause difficulties during the set-up. The room should measure no less than 3 m in height.

8 For any questions, please do not hesitate to contact with: IDOYA OTEGUI MARTÍNEZ TOPIC, Tolosa Puppets International Center Director Plaza Euskal Herria Tolosa (+34) iotegui@cittolosa.com

Puppets International Center Director Plaza Euskal

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