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YANG BAN XI: THE 8 MODEL WORKS
Directed & Written by: Yan-Ting Yuen.
Produced by: Hetty Naaijkens-Retel Helmrich.
Director of Photography: Edwin Verstegen.
Edited by: Stefan Kamp.
Music by: Zhao Wei.
Released by: Shadow Distribution.
Language: Mandarin with English subtitles.
Country of Origin: The Netherlands. 90 min. Not Rated.

A very enlightening look at the only performing art form allowed by Chairman Mao’s wife during China’s Cultural Revolution (1966-'76), this documentary captures the era through blending two of its eight most popular productions, interviews with the original performers, black-and-white newsreels and current MTV/hip-hop-style dances to the original music.

Stealing from the American musical theatre tradition, Madame Mao cleverly produced, on stage and screen, these fiercely propagandistic stories of revolution (categorized as Yang Bang Xi), which were part Chinese classical ballet and part MGM musical. Filmed in bright Technicolor and Cinemascope, the works portray young, beautiful women and handsome men singing and dancing against the villains – landlords and anti-revolutionaries – while praising the heroes, the farmers and revolutionary soldiers. Instead of a lyric like “Oh, What a Beautiful Morning” which celebrates the American West, the Yang Ban Xi celebrates Mao and communism – “Land is in the hands of the hateful dog, the land owner. Mao is the Great Sun.”

The powerful music, athletic choreography and revealing costumes helped to camouflage the seriousness of the message. In one of the interviews, a now middle-aged man and devoted fan of the Yang Ban Xi recalls how delighted he was to see ballerinas pirouetting with guns above their heads while wearing short shorts as part of their military costumes. He really didn’t care what they were singing about. The propagandistic message coupled with sexual arousal – a sure fire way to recruit for the revolution.

Interviews with five of the former artists – a ballet dancer, actor, actress, script writer, and conductor – are very moving. Highly trained and gifted, they had to mold their work according to the tastes of Madame Mao. If they dissented, they were sent to the stables and stayed there until they changed their opinions. All were considered superstars, yet all suffered greatly when the Cultural Revolution ended and was denounced for its excesses. (Madame Mao was put under house arrest and committed suicide in 1991.)

Especially affecting is the story of Xue Qinghua, the dancer. As a young girl, she was widely known, but after the revolution, she found herself struggling to make a living as a seamstress. Recently at age 57, she re-created her role in The Red Detachment of Women. The remounting of the production shows her to be still a beautiful and powerful performer. In striking contrast, the young people performing with her had none of her intensity and emotional commitment to the work. Indeed, today the Yang Ban Xi is seen as a colorful, campy reminder of the propaganda opera the now middle-age Chinese were brought up on and take their children to watch. It is certainly that, as well as a fascinating example of the power of the theatre to seduce. Haila Strauss, choreographer of over 100 musical theatre productions, associate professor of theatre and dance, Marymount Manhattan College (www.hailastrauss.com)
March 29, 2006