"Green-glazed Pottery Male Figures": Story of Canjun Opera told through contemporary dance

In “Green-glazed Pottery Male Figures”, I portray “Canjun”, one of the two central characters in Tang Dynasty’s Canjun Opera, whose sharp contrast with “Canghu” defines the essence of their relationship. “Canjun” exudes an air of arrogance, striding with confidence, while “Canghu” appears more passive, subdued, and of a lower social status. “Canjun” often mocks and teases “Canghu” in a humorous, playful manner. On the surface, their interactions seem lighthearted, but beneath the humor lies a deeper, more profound symbolism.

Photo of Wang Zhen, performer of "Canjun" in the dance production "Green-glazed Pottery Male Figures", during an exclusive interview with Guangming Online.

From my perspective, Canjun Opera performers in Tang Dynasty were far from the glamorous figures we associate with modern-day actors. Today, those who step onto the stage or before the camera often dazzle with fame and admiration. But in the Tang era, the life of a comic performer was harsh and challenging. Many chose this profession out of necessity, not passion, struggling to make ends meet. They could neither enjoy a life of luxury, nor experience the artistic joy that contemporary performers often do. Reflecting on this from a modern point of view, I find their role especially noble. While they may not have relished their work, they nonetheless contributed greatly to the cultural and artistic fabric of their time. In this way, they were not only pioneers of this art, but also the very foundation of our cultural heritage.

As performers, our goal is to convey a multitude of meanings. While we aim to showcase the grandeur of Chinese classical culture and the depth of traditional art, our true hope is that our performance resonates emotionally with the audience. If a single detail in our dance can stir something among them, that is the greatest reward. For instance, there is one striking movement in the piece: we perform rapid, tiny steps, knees locked and unbending, with the steps driven mainly by our hips. This creates a stumbling, unsteady effect, as if time itself is propelling the figurines forward. To me, this movement is not merely an imitation of walking; it breathes life into the figurines themselves. As we perform, I feel the figurines moving under the weight of time, as though they too were alive, caught in the rush of history. This distinctive gesture embodies how the audience imagines the figurines should move, and it captures a profound artistic beauty that resonates deeply.

Photo of "Canjun" and "Canghu", played by dancers Wang Zhen and Geng Dixian, in the dance production "Green-glazed Pottery Male Figures". (Photo provided to Guangming Online)

For me, one of the most memorable parts of the performance occurs in the middle, when “Canghu” scatters powder across the stage. As we step into this powder circle, we enter a new realm, a space that transcends the physical stage. Our movements intertwine, building to a climax where “Canghu” lifts me, and I leap onto his shoulders. This sequence carries the essence of “Shuanghuang”, or two-men act, a traditional Chinese performance. The layers of performance, both physical and symbolic, are rich and complex. When we step into the powder circle, it feels as though we were entering a world apart – an imagined stage within the real one. This fusion of realities makes the scene especially vivid in my memory.

A still taken from the dance production "Green-glazed Pottery Male Figures".

Touring the show abroad has been a journey of both pressure and immense pride. This performance is not just a dance; it is a symbol of Chinese culture, a living artifact with deep historical implications. The show represents not only two ancient relics, but a dynasty and its culture. We expand into the rich cultural history of Canjun Opera and its timeless narratives. By sharing these cultural elements with audiences overseas, we offer them a glimpse into the depths of Chinese heritage while allowing them to connect the themes of the past to their own lives. Every time we conclude a performance and hear the enthusiastic applause from international audiences, I am filled with a profound sense of national pride.

Foreign audiences often marvel after watching our performance, saying, “Wow, China has such an incredible dance, and behind it, such a fascinating historical story!” I want them to know that this is just a small part of China’s vast cultural landscape. We have countless other precious artifacts and cultural treasures waiting to be discovered and appreciated. I believe that art knows no borders – it transcends time, space, and culture, uniting people from all corners of the world. The dance serves as just such a bridge, connecting the past to the present, the East to the West, in cultural exchange.

Contributed by Wang Zhen, performer of "Canjun" in the dance production “Green-glazed Pottery Male Figures”.