Instead of performing on a traditional theater stage or as part of audience-building during the Ky Yen singing at communal houses and temples, an opera performance was unexpectedly presented on a bar's mini stage, much to the surprise of many audience members.
The performance lasts approximately 15-20 minutes, with the excerpt serving as the highlight and climax of the San Hau opera. The opera show at the bar is jointly produced by a group of young people Hieu Van Ngu (Research, Application and Creativity Group with Cultural and Artistic Heritage) and the Ho Chi Minh City Opera Art Theater.
The theater handles the professional artistic aspects, while Hieu Van Ngu is in charge of organizing the media, images, and narration. Together, they work with the aim of showcasing the art of Hat boi - a genre of traditional theater in the central region - to audiences particularly foreigners.
A 35-year-old financial specialist from France named Dennis said that he is quite impressed at watching the performance as this is his first time witnessing the traditional drama, adding that Vietnam’s traditional art is truly unique, especially the face painting. He admitted that learning more about hat boi after the show was fascinating.
When talking about the decision to introduce Hat Boi at the bar, bar owner Le Ngoc Minh and his wife explained that after a serendipitous visit to watch the drama at the Hat Boi Art Theater in Ho Chi Minh City, their passion for the art form led them to find a way to showcase the traditional drama at the bar. This decision was made in order to both entertain customers and to promote the country's distinctive theatrical tradition.
Vietnamese culture possesses numerous admirable and aesthetically pleasing qualities, stated owner Minh. Hat Boi - a popular traditional drama in central regions, has a history over 300 years. Hat Boi performances are particularly prevalent during the Lunar New Year, taking place at communal houses, temples, and traditional theaters.
Introducing Hat Boi at bars poses challenges for artists, as the stage space is typically limited, and many in the audience may be experiencing Hat Boi for the first time. Another concern is the differing opinions regarding this unconventional approach.
during a performance at the Ho Chi Minh City Hat Boi Art Theater Head Nguyen Thanh Binh of the Department revealed that Hat Boi traditional drama has consistently demonstrated a remarkable dynamism, allowing it to swiftly adjust to various performance environments. The key aspect is that, regardless of the setting, we prioritize the preservation of the essence of Hat Boi art. The modifications we make pertain solely to the venue, the audience, and enhancing interaction, thereby fostering a closer connection and communication with the audience.
Hat Boi performances conducted in communal houses and temples are subject to standardized norms within traditional settings, said cultural researcher Vuong Hoai Lam of the Hieu Van Ngu group. He continued that Hat Boi performances staged in bars or at open festivals but necessitate corresponding modifications. The aesthetic appeal of Hat Boi itself, rather than the specific performance locale, engages the audience's hearts and cultivates respect and admiration.
