Driving home from work recently I heard an interview with Chinese-American choreographer and director Shen Wei. Sometimes late to the party, I knew I had heard the name before and with my interest piqued by the interview, which ran as a strand on the BBC World Outlook series, I went digging. Shen came to international renown as lead choreographer at the Beijing Olympics in 2008. In itself this says something about the man and his international standing. To be invited to return to a country which would have once banned and perhaps renounced him for taking citizenship elsewhere, is powerful statement about his talent. It wasn’t this so much that attracted my attention, but his childhood in Hunan Province. Born during the cultural revolution, his father was a director of a Chinese Opera company and he literally grew up in the theatre. This is the BBC interview
Shen went onto study Chinese Opera at The Hunan Arts School and then to perform lead roles with the Hunan State Xian Opera Company. His journey from there to his own celebrated dance company in New York, Shen Wei Dance Arts is a fascinating one and detailed in these two interviews:
Clearly never a man to stand still, Shen is now gaining credence as a visual artist too and there is a clear link between the two art forms in much of his dance, easily illustrated by his piece for the Olympics:
You can watch the same video, with an english commentary here. In another piece, Second Visit of the Empress, he brings together Chinese opera and modern western dance in a wonderful fusion of the two forms:
Before leaving China Shen was one of the founder members of the Guangdong Modern Dance Company and was asked back in 2000 to create a piece called Folding which particularly caught my attention with its stunning imagery. Shen not only choreographed Folding but also designed the costumes, set and make-up.
Like much contemporary dance, it is hard to draw a line between dance and theatre and the excerpts above make that evident in Shen’s work. For the boy who grew up back stage, the act of making theatre would appear never to be far from the surface.