Minimal violence

Seven actors, lit by spotlights and all dressed in black sit solemnly on the bare stage, each taking turns to narrate a story of an ancient and bloody revenge penned some 400 years ago.

They're telling the story of Titus Andronicus 2.0, the critically acclaimed rework of Shakespeare's play by Tang Shu-Wing due to hit Beijing as part of the third Nanluoguxiang Theater Festival this weekend.　

Based on Shakespeare's first tragedy, widely regarded as the most graphically violent, the play tells of the bloody cycle of revenge instigated by Roman general Titus, against his conquered enemy Tamora, queen of the Goths.

The play should be heavy on physical interaction and brutal violence, and is normally performed with a supporting cast of special effects.

Yet for Hong Kong director Tang, a long time advocate of minimalistic theater, nothing on the stage could ever be more important than the people, and it's their energy and exchange with the audience that lays the foundation for the play. Nothing is allowed on the stage except the seven actors, and seven chairs.

"Minimalism is an attitude towards life," said Tang, who wants to refine theater to what he considers the most important parts.

"This wisdom and attitude can be applied to the process of artistic creation. I always ask, what are the most important things on stage? In Titus Andronicus 2.0, the most important things are the seven actors, the seven chairs and a live musician, nothing else," he added.

Tang's first interpretation of the play debuted at the 2008 Hong Kong Arts Festival, 12 actors without props or music, performed their parts to the crowd. It was dubbed an "emotionally exhausting experience," by Hong Kong critic Cheung Ping-kuen, in a paper he wrote on Hong Kong's theater scene. The review encouraged Tang to rework for the 2.0 rendition.

"The [actors'] bodies and the already existing facilities of the theater were a vehicle for creation," added Tang. "Version 2.0 is a step on from that and explores the physical language and art of acting. Whether the subject involves violence or not is irrelevant."

A law student who fell in love with theater in his second year of university, Tang went on to study performing arts at the Université Sorbonne Nouvelle in Paris and became one of Hong Kong's most prominent stage directors.

He has directed over 35 productions including King Arthur, Phaedra, and Hamlet. Within his list, Tang has also directed operas, dances and other dramatic productions. His reputation for minimalism, using very little other than the performers, has become his glory.

"The solid physical movements are just part of the whole expression of the play and are no more or less difficult to carry off than other body language or vocal techniques," added Tang. "The most difficult part is to explore, select, organize and structure all these elements."

In his latest productions, the scenes of violence are entirely at the mercy of his cast of seven and their chairs, and most strikingly, victim and perpetrator rarely come into any physical contact. A skilled control of their voices, breathing, gestures and facial expressions are all essential Tang claims.

"In working on theater, I have discovered that this art form is the most direct and total expression of all that a human being is," said Tang. "The more I do theater, the more I become spiritual. I am clear that the purpose of life is self realization. Theater just confirms this belief."

When: May 26-28, 7:30 pm

Where: No.8-2, Dongdan Santiao, Dongcheng district

Admission: 80 yuan, 40 yuan for students

Contact: 8404-9981

In Cantonese with Chinese and English subtitles