Fusion of traditions helps revive cai luong

      Thirty years after he first incorporated moves from the classical drama form of tuong (classical drama) into a cai luong (southern folk opera known as reformed theatre) performance, veteran artiste Thanh Tong stands vindicated.
Initially decried by purists and critics adamantly refusing any change in cai luong, Tong’s renovation has not only helped revive the traditional art, but has steadily won over the most fastidious audiences to dominate the theatre today.
More than 100 veteran and younger actors in HCM City performed the traditional opera at the Hung Dao Theatre last week in a stirring display that kindled strong hopes, and some confidence, that the art form would continue to flourish.
The artists performed dozens of excerpts from famous plays like Ly Dao Thanh Xu An Thuong Duong (Ly Dao Thanh Passes Judgment on the Queen), featuring the style developed by Tong.
"We found it refreshing to perform for Tong and his colleagues and fans," said Tu Suong, one of many students of the veteran artiste.
Early start
Tong began his professional career when he was just 10, working for the Cau Quan Troupe in District 1, a leading cai luong troupe owned by his grandfather Nguyen Van Thang – one of greatest proponents of the art.
With his strong voice and performance skills, Tong quickly became a bright star on cai luong scene.
In the 1960s, Tong was at the peak of his artistry and fame. He starred in many plays like Doi Co Luu (Miss Luu’s Life) and To Anh Nguyet, which are recognised as canonical cai luong.
In 1980, Tong came up with the notion of combining the southern folk opera with the classical drama from central Viet Nam, and persevered with it despite the barrage of criticism the style was subjected to.
This meant that he began writing his own screenplays, and his new ideas found eloquent expression in quality scripts like Pham Cong Cuc Hoa and An Duong Vuong, both of which highlight the beauty of Vietnamese characteristics.
Many of his cai luong plays have since been staged many times by leading troupes at home and abroad.
Like many of his peers, Tong has devoted all his energies to the stage, finding new ways to lure audiences, particularly the youth.
Tong has also worked hard to train younger colleagues. Many of his students, including Trinh Trinh, Tu Suong, Truong Son and his oldest daughter, Que Tran, have won top prizes at national competitions and festivals.
"Our traditional cai luong art should be carried out in a series of processes, from the older generation to younger one, a process that leads to higher heights of creation," the septuagenarian said after his latest show.
"Through our art, we wanted to preserve the country’s spirit. We hope our children grow up within love and respect for the traditional arts," he added.
For his contributions for the theatre, Tong was honoured with the People’s Artist title in 2007.
Tong said he is proud of his traditional family, which includes more than 30 people involved in tuong and cai luong. "All of us are trying to preserve our traditional culture as well as share it with others."