Various art forms of -Dream of Red Mansions- were staged on the stage, witnessing the new vitality of the classic in contemporary times.

“Every reader interprets ‘Hamlet’ in their own way, and the same is true for ‘Dream of the Red Chamber,'” said a theater enthusiast reflecting on the latest performances in Beijing.

Recently, the theater scene in Beijing has come alive with both the full-length drama ‘Dream of the Red Chamber’ and the ethnic dance drama of the same name being staged simultaneously at two different venues. These productions delve into the love story of Baoyu, Daiyu, and Baocai, as well as the rise and fall of the Jia family.

On October 13, the Shanghai Dramatic Arts Center celebrated a significant milestone with the 50th full performance of their version of ‘Dream of the Red Chamber’ at the Capital Theater in Beijing, marking its 100th show overall. The rendition, lasting around six hours, is divided into two parts: “Flourishing Spring” and “The Return of the Birds.” Playwright Yu Rongjun explained that this adaptation offers a modern interpretation, reflecting contemporary thoughts, choices, and expressions. By breaking the original timeline, the play reconstructs the narrative around the conflicts and connections between individuals and their destinies.

Audience members can expect seamless transitions in scenes, such as switching from a funeral for Qin Keqing to a grand welcome for Yuan Chun, highlighting the emotional depth and poignant storytelling. The narrative style grows increasingly stark as Baoyu’s memories shift from the joyous festivities of the “Gathering of Flowers” to the stark imagery of “The Pure White Land.”

In contrast, the ethnic dance drama, produced by the Jiangsu Grand Theater, has enjoyed tremendous popularity since its debut in 2021, often selling out its performances. Young directors Li Xing and Li Chao lead this production, with Jiangsu Grand Theater’s general manager, Liao Yi, noting that the average age of attendees is around 27, mainly consisting of a younger crowd.

One of the key aspects attracting this young audience is how the dance drama revitalizes the classics with a personalized expression. Centering on Baoyu’s perspective and the fates of the Twelve Beauties of Jinling, the performance captures a range of experiences—from Daiyu’s initial shyness upon entering the Jia residence to Yuan Fei’s puppet-like demeanor during family visits, and finally the collective mourning of “Flower Burial.” This showcases the tribulations faced by women in an epoch.

In recent years, ‘Dream of the Red Chamber’ has been adapted into various dramatic forms, including Yue opera, Kunqu opera, and ballet, illustrating the evolving interpretations of this classic narrative. Professor Huang Jian from Fujian Normal University noted that contemporary adaptations have transcended merely retelling the original tale, favoring a more stylized and aesthetic approach to storytelling. “The original work possesses an unparalleled artistic height, and since audiences are familiar with the original plot, simply reiterating it may not garner high acclaim. Exploring new avenues to simplify the narrative and emphasize lyrical expressions can lead to innovative stage art,” he observed.

As we look at recent adaptations of ‘Dream of the Red Chamber,’ innovation seems to be the common goal among creators. In the dance drama, each of the Twelve Beauties sports a unique traditional Chinese garment called “yun jian,” symbolizing different flowers. The stage for the drama is marked by minimalist design that aligns with contemporary aesthetic sensibilities, with recurring motifs of ‘fallen petals’ symbolizing the characters’ inner worlds, while the ballet integrates elements of both Eastern and Western arts, merging elegance with classical Chinese essence.

Feng Shuangbai, president of the China Dancers Association, emphasized that recent dance creators are deeply rooted in excellent traditional Chinese culture, yet are unshackled by its conventions. This innovative expression allows for the transformation of these traditional classics into modern artistic products that resonate with younger audiences, resulting in captivating works.

Huang Jian concluded, “The aim of exploring and utilizing traditional cultural classics like ‘Dream of the Red Chamber’ is not merely to reminisce about the past, but to create new modern artistic cultural products that can integrate into contemporary life. The rich traditions of Chinese culture serve as an inexhaustible resource for such creative endeavors, with these modern interpretations providing exemplary models for the innovative development of our heritage.”