During an interview on October 24th in Nanning, Liu Yanjun, the president of the Chinese Minorities Drama Society, emphasized the crucial role of ethnic culture in theatrical performances and creations. He stated, “Every element—music, costumes, stage design—must draw from our cultural heritage, including our ways of thinking, aesthetic habits, and ethnic markers.” Liu believes that the unique features of ethnic culture make drama more lively and engaging, and he advocates for their preservation and transmission as essential for local drama to gain international recognition.
Nanning, Guangxi, is rich in natural beauty and cultural heritage. Traditional forms of theater such as Zhuang drama, Guilin opera, and local operas shine as historical representations of ethnic cultural arts. On the same day, a themed seminar titled “Voicing for the People, Singing for the Era,” organized by the Guangxi Theatre, brought together experts and scholars from the drama community to discuss the development of local operas in Guangxi.
On the night of October 19, the Guangxi Theatre showcased outstanding performances, including the彩调剧, or color-tune opera, “New Liu Sanjie,” which delighted audiences with a breathtaking audio-visual experience.
Ji Guoping, the president of the Chinese Modern Drama Research Association, noted that the unique skills found in Chinese regional theater have gained international acclaim. He recounted how a classic Guilin drama, “Da Gun Chu Xiang,” featuring stunning techniques like “changing costumes in a box” and “flipping into a box,” captivated attendees at the 35th World Congress of the International Theatre Institute held in Spain in 2017.
On October 22, Zhuang drama “Qian Yun Ya” was performed at the Yongzhou Theatre in Nanning. Ma Ye, a researcher and drama theorist at the Chinese Academy of Arts, remarked on the unique resources available in Guangxi’s mountains and cultural heritage. He emphasized the importance of converting these resources into artistic expressions, highlighting the play “Qian Yun Ya” as an exemplary use of local folklore, focusing on the love story between a serpent man and two twin sisters, celebrating the virtues of humanity with both artistic and ideological depth.
Long Hong, president of the Jiangxi Drama Association, reflected on his experience watching “New Liu Sanjie,” stating, “When the familiar folk songs started, it instantly brought back memories of the original ‘Liu Sanjie’ for me. That was a defining era.” He praised the Guangxi Theatre for their commitment to preserving and passing down drama traditions, noting that they neither seek to sensationalize nor isolate themselves, but rather engage deeply with the rich cultural backdrop of the region.
Lü Yuzhong, a former chief inspector at the Ministry of Culture and Tourism, cautioned against the loss of identity in local theatrical forms. He noted, “If a regional opera’s dialogue and performances become assimilated into Jingju (Peking opera) and Kunqu, it loses its value and significance.” While Guangxi may not be among the provinces known for a high number of drama forms, he highlighted that the region excels in the preservation and protection of its theatrical traditions. With 18 distinct theatrical forms that remain vibrant and unique, the success of the Guangxi Theatre in recent years serves as a valuable model for summary and promotion.