Che Guevara, a New Spoken Drama

(CRI reporter Shen Ting watched a new experimental drama about a man who gave his life for the cause of oppressed workers and peasants. Here's Zhang Jiaping with Shen's report on "Che Guevara," produced and performed by the Drama Research Institute of the Central Academy of Drama.)

Spoken dramas were virtually unheard-of in China until early in the 20th century, but in the decades since they were introduced many troupes have been experimenting with this form. The Drama Research Institute's new play, "Che Guevara," is an excellent example of this, and Shen Ting reports that some of the events that took place offstage in connection with the performance were every bit as fascinating as the play itself.

Che Guevara was born into a middle-class family in Argentina in 1928. Although he could have lived out his life in these comfortable circumstances, he rejected it. As one line in the play goes, "Che Guevara crossed the street to join the oppressed."

Che never ended his struggle. He helped to lead revolutions in Cuba, Congo and Bolivia. In 1967, the 39-year-old Che Guevara was killed by the Bolivian Army. From that day on, Che and his unshakeable faith in socialism as the path to freedom have been sources of inspiration and admiration to people all over the world.

The Drama Research Institute of the Central Academy of Drama took on a daunting challenge. How to convey the heroism and unswerving faith of Che Guevara with empathy as well as artistry? The directors employed a number of interesting stage techniques.

At the back of the stage was a large, square curtain, onto which slides depicting Che's life were projected. Iron chains kept in wells sunk into the stage were clearly symbols of feudal oppression but also instruments used to make dramatic sound effects. As in China's traditional operas, a small orchestra was seated at the side of the stage, in view of the audience.

The messages conveyed through this epic drama of one man's life were many and complex. The tiny cast--only seven members--used song, chant, dance, speech and striking tableaux to get these messages across. The relations between poverty and wealth, individualism and the collective good, heroism and cynicism, all led to the ultimate question: where is mankind headed?

An interesting, if unrehearsed, subtext to the drama occurred near the end of the play. Three of the actors on the stage called upon anyone who believed that wealth is more important than conscience and justice to leave the theatre. They were clearly taken by surprise when one middle-aged man rose from his seat and walked out, waving farewell as he left. A hum filled the theatre as the remaining members of the audience expressed their shock. Surely no one was actually meant to leave--but perhaps this was actually part of the play?

When the performance ended, reporter Shen Ting found in the lobby the man who had caused such a stir and asked him why he had left.

"I feel I am one of the people who should leave the theatre as the actors said, because I care too much about money. I'm a businessman. I have used the name Nelson, after Nelson Mandela, as my English name for the past five years. But this play has made me decide to change it to Guevara. He is my new hero."

He went on to point out that an essential element of all live theatre is the interaction between the actors and the audience. Because he was so powerfully moved by the performance, his response was equally powerful.

In keeping with the collective spirit, when the play ended the cast and staff met with the audience to seek their advice and opinions. As a matter of fact, meetings like this have become a sort of informal routine in Beijing theatres these days. Directors, producers and performers agree that the playgoers are as deeply involved in the play as they, and should have a chance to express their views.

At the meeting held after the debut of "Che Guevara," the audience members showed no hesitation at all in making suggestions. One complained that the opening act was too long and tedious. Co-director and composer Zhang Guangtian responded with an explanation.

"Many people want to know what kind of person Guevara was and why we would put his story on stage today. Maybe this is not our responsibility, but since it's the first time a Chinese drama has depicted Che, we thought it is necessary."

Despite the slow start, the play soon captured the audience's attention with its satiric treatment of the degeneration of humanity. Although often rocked with laughter in the play's lighter moments, the viewers were moved by the overriding theme: that justice is worth fighting for, and even dying for.

Actress Li Mei explained their motives.

"We want to support justice by satirizing the negative phenomena we see in society now. Only by making such comparisons will people recognize the truth. These days many people, especially the young, are wasting their lives. We are trying to help them set loftier goals, something worthwhile for the future."

The Drama Research Institute of the Central Academy of Drama has certainly set lofty goals for itself. Although there were some flaws in the new play at its debut, its creators are putting their ideals into action in making improvements. Just as they hope to be teachers of the people who go to see "Che Guevara," they also seek to learn from them. They have brought the spirit of Che Guevara to life, not only on the stage, but in all aspects of the production.