Vietnam's traditional Tuong theatre, a gem of cultural heritage, is facing a critical challenge as it grapples with dwindling funding and waning public interest. This ancient art form, which has survived centuries of change, now contends with the modern world's shifting entertainment preferences. Despite these obstacles, dedicated artists and enthusiasts strive to keep Tuong alive, hoping to rekindle a flame of appreciation in the hearts of the Vietnamese people.
Tuong, a classical Vietnamese theatre form, is a vibrant tapestry woven from the threads of history, culture, and artistry. Its roots can be traced back to the 13th century, when Chinese opera singer Ly Nguyen Cat introduced embryonic elements of the art to the Dai Viet court in Thang Long, now known as Hanoi. Over time, Tuong absorbed musical influences from the Hindu kingdom of Champa, exemplifying the Vietnamese penchant for blending indigenous and foreign elements.
The art form experienced fluctuating fortunes under various dynasties. The Tran kings were ardent supporters, while King Le Thanh Tong (1460-1497) imposed strict prohibitions, including barring thespians from civil service. However, the 17th century saw a resurgence under the Nguyen lords, with Dao Duy Tu (1572-1634) playing a pivotal role in Tuong's revival in central and southern Vietnam.
The zenith of Tuong came in the 19th century under King Tu Duc (1847-1883), who established a patronage system and commissioned royal theatres. Dao Tan (1845-1907), a provincial mandarin, significantly contributed to Tuong's creative development, authoring over 40 plays and earning the title 'Founding Father' of Tuong.
Despite its rich history, Tuong's popularity began to wane during the French colonial period, overshadowed by the modern art form of Cai Luong. Nevertheless, the National Tuong Theatre was founded in 1959, and the Vietnam School of Stage Arts (now the Hanoi Academy of Theatre and Cinema) was established to preserve and adapt the art form. New plays focused on national struggles, transforming Tuong from royal entertainment to a medium for the masses.
Today, only seven Tuong troupes remain nationwide, with approximately 300 artists, including musicians. The Vietnam National Tuong Theatre's director, Hoang Van Khiem, recalls packed performances during wartime, a stark contrast to the current scarcity of audiences and performers.
The gap between veteran performers and their younger counterparts is vast, with new talents struggling to embody the profound spirit of Tuong. Ta Van Xop, the vice director of the Vietnam National Tuong Theatre, emphasizes the need to attract students and scout local talent to rejuvenate interest in the art.
Even successful Tuong artists face financial difficulties, with some supplementing their income by performing in cafes or bars. The younger generation's disinterest, fueled by a preference for contemporary music genres and a lack of exposure to traditional arts in education, poses a significant threat to Tuong's survival.
The Vietnam National Tuong Theatre continues to stage performances, but a more dynamic approach is necessary to attract audiences. Initiatives like Miss Vietnam 2006 Mai Phuong Thuy's book "Phu Nu vo Tuong" (Women and Tuong), which introduces the art and its elements, aim to generate interest and support for Tuong.
Tuong's struggle is emblematic of the broader challenge facing traditional arts in the modern era. As Vietnam continues to evolve, the fate of Tuong hangs in the balance, dependent on the collective efforts of artists, educators, and the public to preserve this invaluable cultural legacy.
For more information on the history and significance of Tuong, visit the Vietnam National Tuong Theatre and explore the Hanoi Academy of Theatre and Cinema for educational opportunities in traditional performing arts.
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