Taiwan's Han-Tang Yuefu (HTYF,漢唐樂府) was established in 1983 under the creative direction of the distinguished nanguan performer Chen Mei-o (陳美娥). Her aim was to re-establish the classical music of nanguan within Chinese musicology and train new talent in nanguan performance, narration, and art. At that time, the world of nanguan was gradually eroding and it was becoming increasing difficult to preserve and pass on this cultural gem: the ancient performance art required an infusion of new lifeblood. Today, it is fair to say that Chen has achieved her goal. Han-Tang Yuefu has established itself as a pioneer in the revival of both ancient nanguan-style music and liyuan (or pear orchard, 梨園) – style music and movement. The troupe consistently produces works which artfully combine the ancient and modern, mesmerizing audiences in major operatic venues throughout Asia, Europe and America.

HTYF first rose to prominence on the international stage with their creative re-adaptation of the classical movements of the "Musical Theater of the Pear Garden" (梨園幽夢). And over the past 12 years, the troupe has continuously performed the ancient melodies and refined tonalities of the Chinese classical performing art. While the performers move about the stage in unhurried steps, bedecked in period costumes, we may relive the refined sensitivities of the Han (206 BC-AD 220) and Tang (AD 618-907) dynasties; the periods from which the nanguan music for which HTYF has become famous, originated. We are able to enjoy the exciting exuberance and beauty of music and dance from the vast central plains that these dynasties conquered.

Besides exhaustively collating the traditional splendors of ancient nanguan, HTYF also embraces the tonalities that developed along the diasporic southward journey the music underwent during the later Sung (960–1279) and Yuan (1271-1368) dynasties, as evidenced in their renditions of the surviving dramas from the original liyuan-style of performance. Liyuan is an ancient form of Chinese classical music and movement that is said to originate from Liyuan (梨園), the first known Chinese opera troupe.

In 1995, HTYF established the Liyuan dance studio (梨園舞坊) and revolutionized the popular view that the "outdated stories" of liyuan performance were emotionally one-dimensional. HTYF gently combined the profound and composed sensitivities of nanguan classical music, with the exquisite grace and gentle beauty of liyuan dance steps. Classical form was then infused with elements of the modern stage to create classical music and dance programs that diffused a traditional spirit with contemporary form.

HTYF performances soar beyond the traditional concept of plays. The female performers' quick steps are intricately entwined with the musical performance; the slightest musical pause becomes a cue for stage movement to fill the vacuum. The linear choreography glides atop the nanguan notes, and the curved bodies harmonize with music that envelopes the stage in a uniquely ethereal beauty. The performers' movements have the cursive sweep of floating clouds or flowing water, and are as delicate and refined as petals suspended in a vase. The entire performance tugs at our heartstrings, and the drama knits together the subtlest of movements into an oeuvre one simply cannot ignore. A momentary blink or a single breath and you might miss the dark, translucent beauty.

1996 saw HTYF's first efforts at promoting their traditional art forms. Their "Sumptous Feasting Song" brought rave reviews from audiences and critics alike, and the two arts forms merged as poetry melds into paintings. The nanguan and liyuan bonded into a traditional platform infused with elements of modern stage. With a grand creative scheme of lively choreography, the performance became a conversation between traditional and modern culture.

HTYF continued their success with works such as the Feast of Han Xizai (韓熙載夜宴圖), the Tale of the Lo River Goddess (洛神賦), Le Jardin des Delices, Romance of the Lychee Mirror (茘鏡奇緣) and other plays from the classical nanguan repertory. Each HTYF costume is the sine qua non of their performance, scenery and stage finesse. The performers' costumes adhere to the historical authenticity of Tang materials and tailoring. The gracious, fluted sleeves designed for ancient aristocratic females accentuate their slender waist and gliding gait of the performers, and their simple elegant robes highlight their intricate hand gestures. The vibrant hues and delicate embroidery show a conscientious wealth of traditional symbols. The hairstyles, make-up, fans and adornments the women carry, all exhibit a refined touch of research that allows us to muse upon the classical female as if she has just been freed from the framed confines of a Tang painting and appeared suddenly alive on stage before us.

The high degree of difficulty required for the women's serene, gliding movements displays an external suppleness that belies their internal strength. Their lilting arms and airy steps are reminiscent of the bras bas and cou-de-pied nobility of Western ballet, while their erect heads and taunt postures reveal the restraint of Asian propriety.

HTYF is particularly conscientious about their performance etiquette and each posture and movement is chiseled into the actors from historical accounts; even the scenery, from the bamboo drapery to the lighting, is historically accurate. Scholarship and aesthetics each provide their unique perspective, mysteriously and subtlety filing the audience with the impression of the vast expanse of limitless expression that enveloped courtly China. Their staging liberates them from the "framed aspect" which confines many plays, and the one-dimensional stage is swept away with the ancient tides of the flowering past, restrained only through the refined internal composure of the actors and their heightened sense of artistry.

Most people's first reaction to a HTYF performance is, "Stunning!" Chen points out that beauty is the very essence of nanguan and that even people completely ignorant of the art form will easily comprehend this level of beauty. Chen says that nanguan's music is warm, blissful, and fulfilling, yet 100 percent sheer tension. With but the sparsest of instrumentation, the compositions are harmonious and without the slightest jostling for predominance. Nanguan's immediate source of inspiration is a respect for nature and a reverence for the land; it seems almost devotional in nature. Because of this, it possesses a nobility, both solemn and sagacious, that prompts the audience members to settle their hearts and placate their energies, relax their bodies and compose their minds, and experience the resplendent Zen nature.

As for the Liyuan movements, primary importance begins with internal composure. The performers move about as calmly and serenely as water. Stage directions, deportment, the glance of their eyes, their romantic charm; every actress defines her character without missing a beat. This degree of refined elegance is seldom seen, and rarely experienced.

HTYF's spiritual leader began her career knowing almost nothing about nanguan. "I thought nanguan was a type of instrument!" Chen would say. Today she has been the guardian of nanguan musical drama for almost 30 years. She does not consider herself particularly ambitious, even though in recent years she has won international acclaim. She says, adapting the words of Confucius: "If heaven grants me 30 more years, my work with nanguan will be finished. In thirty years I can finish establishing a solid foundation for nanguan's educational work and then my soul may find peace."

HTYF expresses its spirit for continual growth and its views on transmission succinctly: "Today's music is classical, and classical music is today's." The classical conservator and the modern vanguard unite to bring the audience to the crucible of traditional culture's baptismal rites, within a brand new, visually unorthodox scenario. HTYF succeeds in creating aesthetic value from classical artistic performance, and attempts to uproot and relocate Han Dynasty culture and replant it upon the international stage.

HTYF has never considered itself a drama troupe. Their only goal is to promote the music and plays of nanguan culture. Chen said: "Performing is but one result of our efforts, but our cultural directive and ideal goal is to recreate tradition by being rooted in tradition."

To preserve the cultural investment of traditional peoples, in 1994 HTYF started recording "The Complete Set of Nanguan Instrumental Suites" with a long-term goal of developing an audience appreciation for these ancient folk melodies. The complete recorded set of 64 nanguan instrument suites realized their long held dream of preserving all available nanguan music. The Government Information Office of the Executive Yuan recognized the recording with the Golden Tripod Award (金鼎獎) for Best Producer, Best Recording, Best Performance, and Best Vocal. In the years 1990 thru 1995, their performances received the Ministry of Education's top award for traditional performing groups.

HTYF proves that the classical and the modern may coexist. They have succeed in fashioning ancient traditional art into performances acceptable to today's audiences, creating what are certain to become modern artistic classics.

Written by Perry Hsieh for culture.tw
Translated by Mark Hennessy

Photos courtesy of Han Tang Yuefu