With a string of Western classics under its belt, the National Ballet of China (NBC) boldly presses on with its mission to "strive for the prosperity of the art of ballet" by offering a second helping of the internationally acclaimed pantomime, Raise the Red Lantern.

First staged in May 2001 in Beijing, Su Tong's classic novel has never looked better on point. The harrowing tale details the struggles of a spirited young woman during the 1930s who dares to take on the feudal traditions that defined Chinese society.

But the production's searing social commentary is only the tip of the iceberg. Matching the technical standard of the great ballets of the past, Red Lantern breathes new life into the genre by combining elements both old and new, from the East and West. From the moment the waif-like heroine (Zhu Yan) appears in the Overture, demonstrating her desire for a simple life using gentle, fluid motions - to her last pas de deux with her illicit lover (Li Jun) before facing her tragic end - Red Lantern is a sumptuous theatrical spectacle, jam-packed with biting imagery and Chinese characteristics. Even in the absence of French costume designer Jerome Kaplan's lavish cheongsams and without Zeng Li's elaborate stage designs, the production rehearsal itself is a triumph.

Oscar-nominated Chinese director Zhang Yimou, who created the 1991 award-winning film of the same name, once said he had chosen to stage this particular piece for its dramatic form and structure, cinematic appeal, and because it involves Peking Opera. "I have always felt it would be quite interesting to combine traditional Peking Opera and Western ballet," said Zhang.

The ballet features a diverse and talented creative team, both from home and abroad, who are unafraid to experiment with a barrage of cutting-edge devices to achieve an otherworldly effect. While techniques like silhouetting used in the rape scene near the end of Act I and the orchestra mimicking the sound of mahjong tiles in Act II, followed by a thundering dance by the cast atop tables may stir a hint of controversy, essentially this is where the production draws its strength. The new version, however, has been reworked to downplay the overwhelming presence of such "non-dance" elements and focus on a more distinct plot and more animated choreography.

"After the first choreography we concentrated on acting and drama," choreographer Wang Xinpeng, one of China's most renowned young artists, told Beijing Weekend. "The dancing was too simple. ... We changed each part to make it more interesting and emotional by raising the level technically and emotionally." The German-based Beijing Dance Academy graduate, who has also choreographed productions for the Hong Kong Ballet, Ballet Dresden Semperoper and HET National Ballet Amsterdam, insists that Zhang's original idea has been preserved. Wang admits, however, that the endeavor was no easy task.

"We worked really very hard on this new choreography (but) the feeling of this drama is all Chinese. The company worked together to make it look Chinese. The production is a mix of Western and Chinese with a new, modern style."

For Wang, it is the differences between China and the West that arouse his interest, while for composer Chen Qigang it is the process itself. The distinguished Shanghai-born composer, now based in France, has devoted 18 months to crafting an original score, seamlessly weaving together pieces inspired by the old tradition and Peking Opera. For the award-winning composer, who snapped up first prize in the French Ministry of Culture's International Composition Contest and the 27th International Contest of Symphony Composition of Citta di Trieste in Italy, the project was largely an independent process.

Since the 1990s, the NBC, which was established in 1959, has staged several contemporary ballets, including The Red Detachment of Women, Yellow River and Butterfly Lovers to depict the lives of Chinese people.

This ballet is the first China-made ballet to employ a visionary, international crew, featuring China's new generation of competent dancers.

Accompanied by musicians of Chinese traditional instruments and the NBC's 70-piece Symphony Orchestra, guest artists - both actors and musicians - from China's Peking Opera Theatre also grace the stage, creating an interesting art-within-art effect.

Led by NBC Director and former prima ballerina Zhao Ruheng, the company continues to strive for the prosperity of the art of ballet - and to revolutionize it.

(Beijing Weekend  Aug 12, 2003)