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Robert Wilson and the U Theatre of Taiwan '1433 - The Grand Voyage'
February 20, 2010 -- National Theater, Taipei Loosely based on historic texts, avant-garde American stage director Robert Wilson’s new work “1433-The Grand Voyage” reinterprets the life, and particularly the final seventh voyage, of 15th-century Chinese explorer Zheng He. Between 1405 and 1433 Zheng led naval expeditions designed to establish a Chinese presence in other parts of the world and to control trade. His fleet travelled as far as East Africa, promoting diplomacy and trade and fighting pirates. His voyages were however called off by a new emperor, one reason often cited for curtailing interaction between China and other countries, leading to a more insular view of the world. Receiving its world premiere here as part of the 2010 Taiwan International Festival, the production was created in collaboration with the Taiwanese group U Theatre, a well-known professional company that specialises in staging traditional drama using a modern theatrical approach that incorporates high energy percussive drumming, and Tang Mei-yun, a noted Taiwanese opera diva. On stage, Taiwanese opera and drums share the stage with Western jazz music and avant-garde designs. But just how successful Wilson has been in embodying a mix of cultures probably depends on your personal standpoint. Is “The Grand Voyage” truly a mix of cultures, something I am not sure is truly possible anyway, or does it involve more of Wilson’s own view of Taiwanese culture? After all, he does admit that the work is as much about his journey from West to East, as Zheng’s from East to West.
Wilson once said that “An artist recreates history, not like a historian, but as a poet.” That is certainly true here. Rather than presenting a straight historical tale, he looks back and reflects on different events and experiences in Zheng’s life. Throughout the work Zheng, portrayed by U Theatre drumming director Huang Chih-chun, speaks only through stylised movement or appearance in tableaux. Never does he speak or sing. In the context of the work, it is effective. So strong is Huang’s presence, that he seems to be communicating with the audience even when standing in silence. But all this does add to a sense of him being a man fundamentally alone, and a rather cold, distant figure. Only at the end, did I feel anything for him. Star of the show, though, was Tang Mei-yun. She was quite outstanding as the narrator guiding us through events. Actually, narrator barely does the role justice. At different times, she was wizened old man; young boy and young man; singer and dancer. She moved from being serious or philosophical to jokey and outgoing with amazing ease. Also exceptional was American saxophonist Richard (‘Dickie’) Landry, playing the free jazz of Ornette Coleman. Usually appearing alongside the action on stage, Landry produced sounds that were often jolly and jazzy, but at times extremely mournful and full of emotion. His playing both harmonised and contrasted with the U Theatre’s drummers. From Wilson’s sets and lighting to long-time U-Theatre collaborator and Oscar-winning designer Tim Yip’s costumes, the work is also very much a feast for the eyes. The visuals and sparse sets, essentially only in black, white, red and a very dark blue for Zheng, with lots of use of silhouette, somehow add to the sense of place and emphasise events.
“The Grand Voyage” may be historically-based, but in many ways it is a tale for today. It is about people coming from different places, different cultures, and different backgrounds. It is about someone searching for peace both personally and politically. And the very moving scene that ended the first act when, after losing a battle with the Chinese, the Vietnamese are forced to cut down their forests to provide timber for the fleet, resonated with current concerns about the environment. It is possible to take issue with some aspects. It always is. I know that in making reference to the fact Zheng was a eunuch Wilson was making the point that he was still capable of love, but did we really need to be reminded several times? The Africans and their giraffe were quite Disney-esque and straight out of “The Lion King”, and Wilson ignored a much more effective natural ending about two minutes before the curtain came down. But to be quite honest these are small points. This was an evening I will long remember. The two and half hours simply flew past. Despite being performed in Taiwanese with Mandarin and English subtitles it was generally easy to follow without having to constantly look to the side of the stage to work out what was happening. I am sure the work will be a hit wherever it is staged. If it comes your way, don’t miss it.
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by David Mead
But does it matter anyway? From the choreographed entry of U Theatre’s white-faced drummers into the pit, the production is great theatre and hugely watchable. 
There are many highlights and clever devices, including the building and breaking of the dam, made from bamboo box-shaped frames, behind which Zheng’s ship was constructed; the toy-like small ship that represented Zheng moving across the oceans; and the clever ‘venetian blind’ that separated the past from the present.