Theatrical globalization in the 21st century,
manifests itself most spectacularly in new theater buildings.
As I speak, theaters are being planned and
built all over the world, especially in the Middle East and Asia.
These buildings are not just black boxes for a coterie of like minded,
high art enthusiasts.
They are spectacular examples of iconic architecture.
Landmark buildings that can become synonymous with a city.
Everyone knows the Sydney Opera House, which opened in 1893.
But do you also know the Oriental Arts Center Shanghai?
The Beijing National Center for the Performing Arts?
The Guangzhou Opera House?
Or the Esplanade in Singapore?
The fooning opera house Jung Su.
The wen Ju Grand Theatre.
The Hannan Art Centre.
Jung Han Chu.
The Grand Theater Chan Quin.
These are only some of the theaters and
opera houses built within the last ten to fifteen years.
In China alone, about 50 large theaters or
opera houses have been completed and several dozen are being planned.
Let's look at some publicity material, advertising the Star Theater in Singapore.
[MUSIC]
You will notice that these buildings are not just designed to present plays or
operas.
They are sites of integrated events consumption,
ranging from classical music to weddings and conferences.
So, are these new performing arts complexes a sign of things to come?
Consumer temples rather than temples of the muses?
[MUSIC]
They're a sign of globalization in several senses.
Obviously, the idea of having a representative,
even iconic edifice dedicated to the performing arts is a global one.
Representing it seems, an idea of advanced modernity.
These buildings signal a certain individuality
compared to the identical glass fronted skyscrapers
of commerce that mark almost every major city around the world.
These theater buildings are global in another sense, as well.
They are constructions that link engineers, architects,
designers from around the world.
A new opera house in China may have a Dutch architect, Chinese engineers,
German lighting technology, Italian furnishings and so on.
The performance program is equally global.
Over the course of a month, one can see at the Beijing National Center for
the Performing Arts a Dutch ballet company, drama from Taiwan,
classical music from Italy and Israel and even Peking Opera from Beijing.
In this sense, the program is not a lot different from the Barbican Centre in
London or the Brooklyn Academy of Music and other venues that showcase local,
national and international work rather than sustaining their own ensembles.
Christopher BalmeProfessor
