People will do anything for money and they want everything quickly - there is no moral concept. “But the social phenomenon is the same now. Wang said during an interview at her spacious studio. “ ‘Jin Ping Mei’ was written in the Ming dynasty, in a rotten society,” Ms. This powerfully danced version, tightly choreographed, beautifully designed (by the Oscar-winning Tim Yip) and musically rich (composed by Du Wei, with the Paris-based composer Chen Qigang as consultant) is also likely to captivate anyone able to see it. When the enraged Wu enters his home, the couple murder him, and Pan runs off to become Ximen’s fifth (but not final) wife, setting the stage for a tale of familial intrigue and debauchery that has enthralled readers for centuries. He chases her home, and they dance a scene of passionate lovemaking, with Pan refusing to stop even when her benighted husband, the dwarf Wu Dalang, appears at the window. When a lone woman - the equally infamous Pan Jinlian - passes by and stops to watch the orgy, she catches Ximen’s attention. “But if you have any suggestions for improving it, please give them to me.” “It is unfortunate that we won’t be able to perform it here,” she told the invited audience. Wang, who also choreographed the work, acknowledged the production’s peculiar status. It is, however, in keeping with the fierce sense of artistic freedom of the dance troupe’s director, Wang Yuanyuan, and her strong belief in the company’s obligation to make socially relevant works.Īt the start of the rehearsal, Ms. Indeed, Kangxi’s own brother spent years translating it into his native Manchu, and the book is known to this day as “the fifth classic novel” of the Chinese literary canon.Ĭreating a production that cannot be performed in China proper, at least as it is currently titled, might seem a questionable strategy for a fledgling private dance company that depends on sponsorship for its existence, and that cites as its goals the promotion of modern dance in China and of Chinese culture overseas. Copies are downloaded from the Internet, sneaked in from Taiwan and Hong Kong and sold on the street by unlicensed publishers. While the bans in China have limited the book’s circulation, they have done little to stem its popularity. Its most recent translator, David Tod Roy, faced no such limitations in his masterly translation published in the United States, but only three of its four volumes have been published. In 1939 its first English translator, Clement Egerton, professed himself acutely embarrassed by the 70 sex scenes, which he rendered in Latin to avoid censorship.
The veil of caution that surrounded the rehearsal is par for the course with any adaptation of “Jin Ping Mei,” a Ming dynasty novel usually prefaced with adjectives like “pornographic” and “notorious.” It has been banned in China because of its explicit sex by successive governments, starting with the Kangxi Emperor in 1687. Never easy to find, the theater was particularly forbidding on a frigid evening in late January, when the gate to the entire complex stood locked and guarded, opened only to those in possession of a printed invitation to the event within: a dress rehearsal for the Beijing Dance Theater’s adaptation of “Jin Ping Mei,” or “The Golden Lotus.” The piece had its premiere last weekend at the Hong Kong Arts Festival, which commissioned it.
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