Theatres as an Expression of National Interest

A recent trip to Beijing’s National Centre for the Performing Arts made me think about how an architectural structure can reflect a certain aspect of a country, especially when compared to a theatre with which I am much more familiar: Singapore’s Esplanade.

The Esplanade Theatres on the Bay sits on Singapore’s waterfront, and is shaped like a pair of durian fruits. Durian, for the unfamiliar, is a fruit indigenous to Southeast Asia. It grows in a hard, spike-covered shell and is characterized by its pungent aroma and creamy flesh. Because of these traits, durian is arguably the most divisive fruit in existence. Lovers describe it as the king of fruits, and those who hate it describe it as the most putrid thing they have ever tasted. (There is a certain irony, however, in the fact that you are actually barred from enjoying durian inside the Esplanade.)

The Esplanade is what one might call a truly public facility. One enters the structure and is faced with large hall filled with free seating and several art exhibits open to the public. The hall runs down to a corridor, leading to several shops and restaurants. The two major concerts halls are tucked away on either side of the hall and outside are more restaurants and bars. Nearby, the waterfront is lined with benches, and in the middle is the outdoor theatre which often features performances free to the public.

The Theatres on the Bay is truly a meeting place for all Singaporeans; it is frequented by socialites and commoners alike. I have seen Singapore’s most affluent wine and dine there as well as students and struggling workers enjoy a free concert with drinks bought at 711.

Beijing’s National Centre is a very different experience. This is not to say that it is poorly constructed; it is most certainly an impressive sight. Surrounded by a still pool of water, it stands by Tiananmen square in the center of Beijing, its large oval-shaped exterior skimming the water like a setting sun. Inside, the theatre boasts tall ceilings and modern facilities; it is an exquisite feat of architecture. However, it also exhibits an air of exclusivity and disengagement.

Entering the theatre, there is a small open hall or waiting area flanked by a ticket booth on the side and the entrance for the security check across from the main doors. Only after passing the security check can one visit the art exhibits showcasing Chinese artists’ work and traditional Chinese culture. The nearby stairs lead directly to the concert halls. Interestingly, there is nowhere to go during intermission save for the restroom. In contrast, concert halls in the Esplanade have an open area when, during intermission, the audience can have a glass of wine and socialize.

While one may pick favorites, it is also a worthwhile exercise to look at these pieces of architecture as expressions of the nations that have built them.

During the past several years, Singapore has been grappling with its identity. Long considered one of Asia’s model economic tigers, it developed an economy based on trade and manufacturing. The government highly encouraged Singaporeans to go into relevant fields, and as a result Singapore was turning out a large number of engineers. But with the opening of other economies (i.e. China, Vietnam) that can produce goods at much lower costs, Singapore is striving to transform itself into a creative society and entrepreneurial economy. Suddenly, risk-taking capitalists and norm-breaking artists are being encouraged and cultivated. This push has permeated not only the artistic world, but has also led to reforms in education policy and supportive policies for entrepreneurs. The Esplanade can easily be seen as part of the government’s drive to develop a creative and artistic society, acting not only as a platform for the performing and visual arts, but also as a means of engaging all Singaporeans in this push toward creativity.

The National Theatre, in contrast, serves a very different purpose. Completed on the eve of the Olympics, it was part of China’s plan to burst onto the world stage and show a global audience its modernity and grandeur. The modern style and world-class facilities certainly impress upon the viewer an image of China’s economic prowess. It is interesting that in addition to westerners who lament the loss of cultural relics for modern buildings, native Beijingers have arguably been the most vocal group against these highly modern constructions. In fact, the Theatre is often jokingly referred to as the egg often by those who feel it is an eyesore next to the city’s imperial architecture.

Still, it is important to mention that many developing countries highly value these symbols of economic prowess and modernization. I recall being in Wuhan, a city along the Yangtze that had a strong colonial presence during the 19th century, and had commented on how I found the colonial architecture interesting. My Wuhan friend shot me a confused look and commented how strange she thought that foreigners are always interested in old, run-down buildings while ignoring the modern architecture throughout downtown Wuhan.

From a personal perspective, it is natural for Americans who often grow up in cookie-cutter suburban homes and modern buildings to relish in the novel and unique, especially if it is embedded in history and tradition. Similarly, it makes sense for someone who grew up among humble surroundings to favor all things modern, even at the expense of one’s history.

One could also trace this further. Many in what we know as the developing world have a notion of modernization heavily influenced by the western notion of economic modernization, stemming from the industrial revolution and imperialism. Many of these countries were colonized, a legacy which left a lasting impression on indigenous societies. For many countries still pulling themselves from poverty, the path forward is a well trodden one.

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With all of this said, I would like to promote a theatre that I have always enjoyed, the Mixed Blood Theatre in Minneapolis, Minnesota (USA). It features a multi-racial company that performs pieces spurring discussions on cultural identity and barriers within American society. The company approaches its audience mixing comedy, drama and satire. I would highly recommend anyone either living in or visiting Minnesota to pay a visit.