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Strategies & Market Trends : True face of China -- A Modern Kaleidoscope -- Ignore unavailable to you. Want to Upgrade?

To: hui zhou who wrote (10825)	1/8/2012 10:29:31 AM
From: RealMuLan	Respond to of 12464

China has been the MOST important market for VW for the last 25 years, if not longer!

To: hui zhou who wrote (10825)	1/8/2012 10:31:32 AM
From: RealMuLan	Read Replies (1) \| Respond to of 12464

Ghosts and Goblins Haunt Tale of Young Lovershttp://www.nytimes.com/2012/01/07/arts/dance/the-peony-pavilion-by-china-jinling-dance-troupe-review.html?_r=2&scp=1&sq=Peony%20Pavillian&st=cse [image]graphics8.nytimes.com/images/2012/01/07/arts/PEONY/PEONY-articleLarge.jpg[/image] In the preface to his 1598 opera “The Peony Pavilion,” Tang Xianzu wrote of love: “The living may die of it, by its power the dead live again.” On Thursday the China Jinling Dance Company, performing at the David H. Koch Theater, took a stab at a dance dramatization of that work, which retells the passionate story of a romance that blooms during a dream. “The Peony Pavilion,” it would seem, has all the makings of an evening-length dance: a beautiful heroine, a noble hero who carries a willow branch, and a setting of the always mystical spirit world. But when all is said and done, what holds the greatest enchantment in this production, originally performed in 2008, is not a secret springtime romance, but Wang Ruiguo’s trippy lighting, especially when paired with Mo Xiaomin’s costumes for the ensemble: together they dazzle the stage in pinks and greens so neon that they almost create a psychedelic universe. Even when it’s tacky, it’s incredible. The rest of the show, including much of the choreography credited to Ying Zhiqi, Lu Ling and Wu Ning, is predictable and a little leaden, particularly when the couple is locked in an embrace — this is a frequent occurrence — or executing a tricky lift while, it seems, gritting their teeth. There were more than a few shaky moments for the leads, but it was understandable: after an earlier injury involving a dancer in the first cast, the understudies went on instead. This two-hour adaptation is nowhere near as long as Chen Shi-Zheng’s version of “The Peony Pavilion,” around 20 hours when it was shown at the Lincoln Center Festival in 1999. (The opera has 55 scenes.) Still, the Jinling company, which hails from Nanjing and dates to 1955, takes certain liberties in condensing the plot to focus mainly on the young lovers. While taking an afternoon nap, Du Liniang (Xu Xinyu), a young beauty bored and full of yearning, is visited in her dream by Liu Mengmei (Han Bo), a scholar. She wakes abruptly, and when there is no hope of seeing him again, falls gravely ill and dies. But not before she has drawn a self-portrait. (This helps the lovers reunite.) Instead of the Spring Fragrance, the maid, we get Spring God (Liu Liang), who interrupts a garden scene by erupting in vigorous straddle jumps. (As the evening progresses, the acrobatic side of Jinling becomes more and more apparent.) Ghosts and goblins are waiting for Du Liniang in the Netherworld, but before she can get there, her spirit rises from her body, and a figure in white ascends and flies high across the expanse of the stage. The second half of the four-act production glides by more smoothly than the first, mainly because the ensemble dancers add some charming touches, as when the goblins — their ribs and hands glowing green — seem to channel Michael Jackson’s “Thriller,” or when the dancers reunite in the end for a swirling sleeve dance. It’s a strange shame that the names of these company members are left out of the program: they didn’t carry the show, but this “Peony Pavilion” would have wilted faster without them. China Jinling Dance Company performs through Sunday at the David H. Koch Theater, Lincoln Center; (212) 496-0600, davidhkochtheater.com.