The return of Marco Polo
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Although the production team did not formally cast the performance in the genre of dance-drama, the director knew he has to be comprehensive as it spans both time and space. "The Yuan empire was Mongolian, so there has to be Mongolian dance; when Marco Polo travels to Beijing, ballet should feature; and as he visits southern China, folk dances from there are essential," he pointed out. "It would be a stark and boring to use just one genre of dance."
To highlight the romance and interaction between the protagonists, choreographer Gao Guangjian casts the duo as intense characters, with some pieces lasting as long as eight minutes. "If we see dance drama as a pyramid, on top is the duo. As long as there is drama, there are characters and they need to communicate," Chen said.
Chinese culture is an integral part of dance drama. Instead of bringing in complex and profound cultural elements, the director focuses on familiar aspects, such as tasting Chinese food or trying acupuncture. "For a Westerner everything here is new. We don't need to put Confucius or Lao Zi on stage."
To recreate the grandeur of the Yuan Dynasty, the stage design of each of the four acts has a unique feature: one showcases the magnificence of the imperial palace; another, the finer appeal of the southern region's of rivers and lakes; and, a third, the cruelty of battlefields. "Under the Yuan Dynasty, diverse cultures became integrated. The stage design brings out the essence of Chinese culture," Gao explained.
To add an exotic element, Mick Zeni, a leading dancer of Italy's Teatro alla Scala Ballet Company, plays Marco Polo. Although acting in a dance-drama is a first for Zeni and the folk dance a novelty, with his understanding of the character, he is confident of his performance engaging the audience. "Everyone does [his own] interpretation. I feel good inside," said Zeni, who was chosen by Maurice Béjart to perform L'Eletto L'Eletto in The Rite of Spring in 2004.
Yin Shuo, who rose to fame following her solo at the opening ceremony of the 2008 Beijing Olympics, plays the Mongolian princess. To better interpret her part, Yin said she listened to the music almost everyday, keeping in mind the feelings associated with the role.
"Dance-drama has very high standards for actors as you have to portray a certain figure under certain circumstances. Besides body language, you have to portray the character's psychology and emotions," she said.
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