Wang Yuanyuan

Wang Yuanyuan

Wang Yuanyuan is an internationally renowned choreographer and director of modern dance in China. In 1995, he graduated from the Department of choreography and director of Beijing Dance Academy and stayed in school. Later, he obtained a master's degree in dance from California Academy of Arts.

brief introduction

Wang Yuanyuan, dance artist, head of Beijing contemporary ballet. In 1995, he graduated from the Department of choreography and director of Beijing Dance Academy and stayed in school. Later, he obtained a master's degree in dance from California Academy of Arts. He has won awards in many choreography competitions at home and abroad. She has cooperated with Zhang Yimou in the ballet "red lanterns hanging high", choreographed the dance for Feng Xiaogang in the movie "night banquet", and was invited to create for dance companies including the Central Ballet and the Royal Danish Ballet. In 2008, she co founded the Beijing contemporary ballet with Han Jiang, Tan Shaoyuan and other stage artists in different fields, and has been the artistic director and choreographer ever since.

He graduated from the Department of choreography of Beijing Dance Academy and the Department of choreography of California Academy of Arts with a master's degree.

He has been the director of the permanent mission of the Central Ballet Company, the director of the Royal Danish Ballet Company, the director of the Hong Kong Academy for performing arts, the director of the director's College of the New York City Ballet Company, the director of the Shanghai Ballet Company and the director of the Tianjin Ballet company.

He has won the best choreographer award of France international dance competition, Bulgaria Varna international ballet competition, American Jackson International Ballet Competition, Russia International Ballet Competition and Shanghai International Ballet Competition, becoming the first Chinese choreographer to win four international best choreographer awards.

In 2011, Wang Yuanyuan was commissioned by the Hong Kong Arts Festival to create the dance drama "plum in the Golden Vase".

In 2008, he choreographed the opening ceremony of the Olympic Games and served as the Olympic torch bearer. In the same year, the Hong Kong Academy for performing arts specially invited the director of "crossover".

In 2007, according to the "Peony Pavilion" creation of modern dance drama "dream.".

In 2006, he created the dance drama "love and color" for the Royal Ballet of Denmark and performed in the Royal Theatre of Copenhagen. In the same year, he was commissioned by Guizhou Province to create the dance drama red Zunyi 1935.

In 2005, he choreographed the musical Tianshui for Shanxi song and dance theater. Accepted the invitation of famous director Feng Xiaogang to be the dance director of the movie "Banquet". He created a modern ballet dialogue with Chopin for Shanghai Ballet. He cooperated with American composer and Danish Chamber Orchestra asales in the multimedia dance concert "music color" and created "a glimpse of Xiangjiang River" and "monologue".

In 2004, he created "ambush on all sides" and "Night Star" for Tianjin ballet. In the same year, he was invited by the dance school of the Hong Kong Academy for performing arts to be a guest director, and wrote a dream of pear blossoms.

In 2003, he accepted the invitation of Peter Martins, director College of New York City Ballet, and became a guest director in 2003.

In 2001, he was admitted as a graduate student by the famous dance school of California Academy of Arts and won a scholarship to study in the United States. During the two years in school, he also taught modern dance courses, and directed several works such as "personal image", "passage", "song of the four seasons", as well as dance TV works.

In 2001, in cooperation with Zhang Yimou, a famous Chinese film director, he was invited to become the choreographer of the ballet "red lantern hanging high". He has also toured the world in Beijing, Shanghai, Hong Kong, Singapore, Britain, Italy, the United States and Australia. And won the China national stage art project award.

In 1999, he was the dance director of the International Computer Music Festival, and created blood and light of a foreign land. He became a resident and specially invited choreographer of the Central Ballet, created "Liang Zhu" and premiered it at the celebration of the 40th anniversary of the Central Ballet in the Great Hall of the people. Later in the same year, "The Nutcracker" and "rainbow of the night", "falling love" and so on.

In 1995, he was invited to choreograph for the opening ceremony of the Fourth International Conference on women.

In 1997, he created "traction" and directed the students to participate in the 7th International Dance Competition in Paris, France, and won the silver medal of modern dance.

Interview with reporters

These poems in the new work weeds are poetic and full of metaphors

Beijing News: Lu Xun's wild grass has become the source of inspiration for your new work. Where has it touched you?

Wang Yuanyuan: the whole "weeds" has the same temperament: survival. After last September, the living environment of the dance troupe made me have this kind of experience. Many things are hidden in my heart, and it is difficult to tell.

What I wanted to do at first was hesitation. Later, I thought it was too specific. It was too small for the director and the audience. The interpretation of creation should not come from me or Lu Xun. No matter what the subject matter is, we should go through our own inner path and turn it into your own.

Beijing News: Lu Xun's "weeds" has more than 20 articles. You only selected a few of them. How did you choose them?

Wang Yuanyuan: from the perspective of dance presentation. They are all poetic and full of metaphors. These metaphors are different in everyone's mind.

"Farewell to the shadow" premiered in Beijing in April this year, talking about the relationship between you and the shadow, controlling and being controlled; Dead Fire premiered in the Royal Danish theatre in May, cooperating with Danish actors, whose limbs I am not familiar with at all. I feel that they are not like my works, and the things they come out are very fresh; It was only 20 days before the premiere of "polar dance" in Suzhou. I was sick again, and I was never so nervous. I sat in the rehearsal hall crying, and the actors were waiting for me to tell them what to do.

Concept: modern dance is thinking, not any kind of technology

Beijing News: how do you define "contemporary ballet" and "modern dance" in general?

Wang Yuanyuan: the ballet thinks we are a modern dance company, and the modern dance company thinks we are a ballet company. In fact, we are a modern dance company. From 20 years ago to now, the impression of modern dance to the audience is almost to emphasize the personality, which has evolved into "I dance my dance, you love to see, do not understand because of your low level". I don't want that. I want to have more resonance with the audience. For me, modern dance is a way of thinking, the thinking in the mind of the director, not any kind of technology.

Beijing News: there are obvious elements of ballet in your works, but there is no ballet in your previous study background.

Wang Yuanyuan: many of my works are arranged for ballet companies. I'm also used to working in ballet companies. The performers have good physical conditions and are very cooperative. Now the ballet company's operation system is very strict, and it can help me to establish a very orderly rehearsal system.

But when you work in a modern dance company, you feel like everyone is a choreographer. We don't have any dancers specially trained for modern ballet at present. Ballet training is very rigid. If the performers don't train, they can't meet my requirements. Generally, it takes one year for our troupe's actors to get into a relatively important position in their works.

Status quo: no longer feel the pain of film and television actors after doing dance

Beijing News: many foreign dancers are still dancing when they are very old. Why do almost all Chinese dancers eat "youth meal"?

Wang Yuanyuan: dancers often pay out of proportion to their rewards. After you have been a dancer, you must not feel how hard it is to be a film and television actor. Europe has professional insurance for dancers, which is very important. Dancers in our country are flustered when they are 25 years old, and they worry about what to do if they can't dance, so many people change careers just after graduation.

It's also very difficult for dance troupes to keep a good actor. Our annual actor renewal rate is about 20%. The remaining actors may feel that the development and works of the troupe can attract him, but they can only dance for one more year.

Beijing News: how many of your classmates are still engaged in this industry?

Wang Yuanyuan: I have two groups of classmates. I am the only one left in the Affiliated Middle School of Beiwu, and Gao Yanjinzi and I are in the University. The middle school attached to the dance academy has become the middle school attached to the Chinese opera, and has become a large number of performers. There is a special class in the attached high school, which is for the performers of China Opera and Nortel. Besides learning dance, they also learn vocal music and performance.

Beijing News: what's the motivation for you to still be a choreographer?

Wang Yuanyuan: spiritual satisfaction. Doing other things, maybe I do better than now, or live better, also relaxed, but happiness is very important to me. Life is a process. If you accept the process of coming and going, you won't take the unimportant things in mind.

Chinese PinYin : Wang Yuan Yuan