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Zuni Icosahedron

Chung Ying Theatre Company

Hong Kong Arts Development Council

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By Flora Chan

A flood of light and colour drowns audiences as they interact with performers in alternative theatre performances.

Various forms of visual art and body movements are the chief elements in the performances by some alternative performing groups.

Zuni Icosahedron and 20 Beans Plus a Box are two such groups in Hong Kong.

Zuni Icosahedron produces several experimental theatre, video and multimedia productions every year.

“We always try new things we have never touched before, but are related to society,? said Mr. Wong Yue Wai, a member of Zuni.

Mr. Stephen Pang is a member of 20 Beans Plus a Box.

“There is no regular form of expression in our performances.

“We usually combine various elements of art, multimedia, and visual effects with our performances,?he said.

They both perform in physical theatre.

Performing in physical theatre is different from that of traditional drama. It uses non-verbal acting, in which performers express themselves through physical movements.

“Traditional dramas are more narrative in style. They have defined plots and identifiable characters,?said Mr. Lee Chun Chow, assistant artistic director of Chung Ying Theatre Company.

Chung Ying Theatre Company is a professional theatre group in Hong Kong. Most of their plays are traditional.

Another difference between physical theatre and traditional drama is the interaction between performers and audiences.

“Zuni expects to get immediate responses from audiences. We hope our audiences participate in plays by answering questions,?said Mr. Wong.

Mr. Ng Kong Wai, an fan of Zuni, said, “I like to watch these kinds of plays since there is room for me to think.?/font>

He said he was tired of traditional drama.

“Traditional dramas usually use famous actors as gimmicks to attract audiences. They don’t bring up new ideas or issues.

“Watching these types of dramas is just like watching TV or movies,?said he.

Said Mr. Lee: “Most of our audiences do not like touching subjects. Since audiences are required to think, they may not easily catch on to the plots.?/font>

Mr. Wong said that people do not like physical theatre because they are unfamiliar with it.

“People are getting used to receiving but not delivering. They are not open enough to accept new things or to think on their own,?said he.

Although not many people like the performances of Zuni and 20 Beans, the two troupes will not change their principles.

“Zuni is not market-oriented. We only work by trial and error,?said Mr. Wong.

Mr. Pang said, “We will modify our form of expression, but not our purpose.

“It seems difficult to make people receptive. However, it is also a challenge for us. We are trying our best to communicate with audiences.?/font>

Although the performing styles of Zuni, 20 Beans, and Chung Ying Theatre are different, they all face a common difficulty.

Their major funding comes from the Hong Kong Arts Development Council to cover their expenditures, but the funds are insufficient.

“The funding only covers about 60 percent of the total expenditures of Chung Ying,? said Mr. Lee.

“The other 40 percent comes from sponsors and the cultural councils which buy our productions.?/font>

Zuni acquired a 3-year grant from the Hong Kong Arts Development Council last year.

“The funding is project-based only. It only covers administrative expenses, but not the production fees,?said Mr. Wong.

“We have to hand in an evaluation report to the council each year to see whether it will renew the contract with us,?he said.

As for 20 Beans, it also has to send project proposals to the council for funding.

“If the funding is not enough, we have to raise funds by joining festivals, holding exhibitions, or even asking for money from our artists,?said Mr. Pang.

Mr. Lee and Mr. Wong both said that the council has been trying to reduce funding each year.

“No one wants to carry such a big burden. The council hopes that cultural organisations can be more independent," said Mr. Lee.

Lack of funding poses other problems.

“Most of our members are volunteers. They have to work and participate in productions at the same time.

“Hence, they do not have time to do creative work,?said Mr. Wong.

Besides financial problems, government policy is another obstacle.

According to Mr. Wong, the government always put entertainment and leisure prior to cultural activities.

“They emphasise the development of high art, such as ballet or orchestral performances, more than contemporary art,?said Mr. Wong.

Mr. Pang said he wished the government would be more open and give more support.

“Art in Hong Kong is no worse than that in other cities. But it needs government support to improve,?said he.

Apart from this, they also indicated that drama education is essential.

“Theatre in Education?was a tradition in Chung Ying Theatre.

“Drama education not only teaches people how to perform, but also how to incorporate the elements of theatre into their daily lives,?said Mr. Lee.

“We get off the stage and discuss things with students in order to let them know more about drama," said Mr. Lee.

Zuni also holds activities and gives lectures in workshops organised by the troupe.

“We want to let teenagers know different forms of creation. The earlier they become aware of it, the easier they understand it,?said Mr. Wong.