Writer Le Duy Hanh at the recent Congress of HCM City's Theatre Artists' Association was re-elected as the association's chairman for the 2010-2015 term. He shares his thoughts on theatre in the city, especially the diversification in venues and businesses providing live drama.
People mention the success of the city's theatre scene. What criteria are you using to determine this success?
Well, our biggest success has been the increased diversity in theatrical activities. In the previous two terms, five and ten years ago, we were discussing whether the State should support the involvement of the private sector in theatre. Things are quite different now.
The recent national professional drama theatre festival 2009 held in HCM City has proved the professional character provided by private sector involvement in theatre.
The festival's success proved the orientation and vision of the State-owned cultural management agencies.
There, however, are misunderstandings about private sector involvement in theatre by people in and outside theatre sector, which we will deal with this five-year term.
Could you further elaborate on these misunderstandings?
Firstly, involving the private sector in theatre is not privatising theatre. Private enterprises play an important role in theatre but the State-own cultural management agencies play the key role in offering places for performing, and improving quality.
The relationship between private and State-owned enterprises is a mutually responsible relationship. The units dealing with privatised theatrical activities should understand the large-scale management role of the State and know what they need from the State so they can make demands.
Secondly, State management does not mean that the State directly controls the budget invested in some art performance, or in the activities of some theatres. The State does not manage theatrical activities through command.
We should imagine theatre like a traffic system, in which individuals can drive whatever car they like but they all have to obey the traffic laws. The State doesn't assign a policeman to sit in every car, controlling the speed or the direction they take.
State management in theatre should be understood as part of a wider approach to the legal system, creating a favourable environment for developing theatre.
The State can assist, support theatrical units in facilitating performing venues, and introducing sponsors.
It seems that the State has not fulfilled its tasks in the recent years. Private theatre companies have tried to find their own performance venues. And there is a lack of modern theatres in HCM City which could help promote more dynamic drama, that's true isn't it?
The problems lie with both sides. Private companies should voice their concerns with the State.
These companies also would rather do things themselves, and people sometimes forget to ask for State support.
The city's People's Committee has decided to rebuild Hung Dao Theatre. Theatre 5B Vo Van Tan will be upgraded into a modern theatre soon.
In this new term, the association will continue to bridge the State and city's theatrical units.
There's a criticism that theatre performances in the city may have grown in quantity but still lack quality. Do you agree?
It is true that there are too many shows that are just about entertaining and lack of real art. The association's art council has allowed shows as they do not pose an ideological problem, and there have been some good performances such as Ngan Nam Tinh Su (One-Thousand Year Love) and No Than (Magical Bow) cai luong (renovated opera) which cost some VND500 million (US$26,300) each to put on.
It'll take some time before the State gets into the habit of supporting high-quality, expensive art shows.
The city's theatre sector has achieved some advances, but there are negatives as well. That's the lack of sustainability and stability in a theatre sector. There are a lot of companies involved in putting on shows but they lack overall planning.
What should the association do to solve the problem?
In order to build a sustainable theatre scene, companies need to develop strong roots.
During the golden period of cai luong during the 1960s-70s, many art troupes succeeded in doing this.
At that time, impresarios carefully considered which writers and actors they wanted. The writers and actors then signed contracts to secure scripts and performances over a certain time period.
The promoter had to prove that they have enough financial capability to support an art troupe.
Now, there's a lack of actors, they're totally free to join other shows if they want. They can just quit rehearsals to take up a film job, and there's a lack of stringent regulation to control the behaviour of actors.
In this new term, the association will actively discuss ways of improving the legal framework to benefit increased private sector involvement. — VNS