Laws in Vietnam

  Narrative – Chèo Theatrical Art gives voice to the farmers of Red River Delta, Northern of Vietnam. What dramatic techniques are used in this Theatrical Art ? Its stories differ from those of  the classical European theatrical tradition , which evolved from Aristotle. Unlike European narratives which choose a dramatic event in the life of a character and follow it to its inevitalble conclusion, stories involving Chèo  characters unfold throughout the hero’s or heroine’s life. As a result, one doesn’t find Aristotle’s life. As a result, one doesn’t find Aristotle’s dramatic unity of time, place, and action in Chèo  drama. Chèo  narrative method  is not realistic but instead is based on conventions and stylization, similar to Tuong and Brechtian staging. Chèo Theatrical Art is also rich in folk stories and narration. These characteristic determine Chèo’s language. Early skits incorporated songs, danced, gestures, and narrati...

What is the mission of the Vietnam Chèo Theatrical Company to develop in future? The mission of the Vietnam Chèo Theatre company, which was established in 1951, is to restore traditional Chèo and develop modern Chèo. With its nearly 120 members, the company has played widely in Vietnam and abroad. Chèo performance on foreign stages has taken audiences by storm in China , Mongolia , Poland , Russia , Belgium , Singapore , and Malaysia . Two memorable events took place in the history of the company: In 1985, it performed Bertolt Brecht’s The Caucasian Chalk Circle at the International Opera Festival in Berlin ; in 1994, it received a Vietnam-Germany prize. The Vietnamese Government has recognized the Vietnam Chèo Theatrical company achievements by awarding it two Independence orders (Second class and Third class) and various other honors. Related topic: Why is Chèo Theatrical Art currently in crisis? How good are Chèo’s chances of survival?

How good are Chèo’s chances of survival? A disturbing question remained as the curtain descended after Vietnam ’s first National Traditional Chèo festival held in 2001 in ha Long City : “Will Chèo actors and the art of Chèo survive this gathering?” Watching five young actresses play Xúy Vân, a classical character, might dispel worries about the future of Chèo. Although senior actors’ experience is necessary, the continuity of Chèo depends on a greater stage of characters and, of course, on more community support. To restore the traditional art of Chèo, recent improvements have focused on theatrical facilities and training. Experienced artists have been encouraged to pass their knowledge and skill on to young actors. The French dominated Vietnam from 1884 to 1945, causing the county to become increasingly Westernised. Urbanization and industrialization also had an impact. Traditional Chèo gradually fell out of favor with city dwellers, especially after the First World War....

Why is Chèo Theatrical Art currently in crisis? Vietnamese people ,especially those living in rural areas, have not turned their backs on Tuồng, Chèo, or Cải lương operas, yet professional theatre and companies in these traditional art forms struggle to find audiences. Tran Bang, a profession of traditional performing arts, explains the paradox: “We lack qualified artists, especially playwrights, who can write decent plays for traditional operas. We are using play wrights trained in Western-style spoken drama to write scripts for traditional operas. Western-style spoken dramas to dreams are different from traditional Vietnamese operas in terms of structure, languages, character development and denouement. Therefore, some Tuồng, Chèo, or Cải lương operas have lost the identity of their original art from and have become spoken dramas.” Traditional opera companies account for two-thirds of the country’s theatre companies and once had many scriptwriters. In 1960s, there wer...

Which village has contributed many artists to professional Chèo theatre companies? Chèo artist from Khuốc village have more than once impressed Vietnamese and foreign audiences with their ardent, sweet, and moving singing. Khuốc is one of the three famous Chèo villages in Thái Bình Province . In turn, Thái Bình is one of Vietnam ’s Chèo cradles. No one knows the exact origins of Khuốc Chèo; villagers say they have performed since ancient times. At the peak of its theatrical development, the village had eight Chèo groups. Some Khuốc performers such as Phạm Văn Điền, Đào Thị Na, Hà Quang Bồng, and Cao Kim Trạch have become household names. Khuốc village supplies talented artist to the Vietnam Chèo theatrical company as well as Chèo theatre in other provinces. Khuốc Chèo us unique; Chèo artist from Hà Tây, Hưng Yên, Hà Nam, and Hải Dương journey to Khuốc Village for training. Khuốc villagers have staged many Chèo plays they them selves wrote. One of them, the Orange Orch...

Which is one of the most successful Chèo village troupes ?  Thiết Trụ Village Troupe, Bình Minh Commune (Hưng Yên province), is located sixty kilometers far from southeast of Hanoi . The audience always fills the courtyard of the communal house by late afternoon, hours be fore the troupe stages its show. Spectators who arrive just before the curtain rises have to watch from the courtyard banyan tree or from atop the communal house gate. The Thiết Trụ Chèo Troupe, all of whose members are volunteers, was formed in the 1960s. It performed not only for commune residents but also travelled to play for audiences in other locations. The troupe won high prizes whenever it entered a theatrical contest. However, the troupe stopped performing after 1975, when economic conditions became extremely difficult, because its members were too busy making a living. However, from time to time, the artists gathered to recall the past and sing classic Chèo song. The troupe revived in 1996...

Thiệt Thê is known as one of the most famous plays in Chèo Theatrical Art and all faithful women often compared with Thiệt Thê. Chu Mãi Thần is strong-willed man. He earns his living by gathering firewood while he studies. But he married to Thiệt Thê, a good-for-nothing, lazy woman. Fed up with her husband’s poverty and serious pursuit of studies, Thiệt Thê leaves Chu Mãi Thần and takes up a new, luxurious life as a concubine of Tuần Ty. Tuần Ty, a native of central Vietnam , is a prosperous tax collector mandarin for commercial boats in the north. His first wife, Đào Huế, discovers that her husband is taking a concubine. Đào Huế searches for and finds her husband buying jeweler for Thiệt Thê. A scene of jealousy follows, and Thiệt Thê is forced away. On her way home, Thiệt Thê sees a glorious procession of a new laureate from the courts exams and is surprised that the laureate is Chu Mãi Thần . She asks for renewal of their conjugal ties, but Chu Mãi Thần does ...

It could be said that Music is the most important element in Chèo Theatrical Art, which supports artists to express their best emotions in plays. What is the origin of Chèo music? Vietnamese have handed these performances, from the simplest to the most sophisticated, down from generation to generation. Each generation has added innovative characteristics. Chèo sân đình, a popular Chèo art form these spiritual and secular ceremonies. Its inherited music is rich and diverse.  The classical Chèo Theatrical performance of today, including its specialized music, has undergone many changes over the long course of Vietnamese many changes over the long course of original Chèo melodies originates from folk songs of northern and central Vietnam. What are the main musical instruments for Chèo? Vietnamese operas always have background music. The traditional instruments used on a Chèo sân đình stage include the hồ and the nhị, two double-stringed instruments; and the sáo, a b...

In Chèo Theatrical Art, why are good friends compared with Lưu Bình and Dương Lễ? Lưu Bình and Dương Lễ is famous Chèo play about two young man. One is from Son Tay (now is Hà Tây province) and the other from Bắc Ninh Province , They study with the same master teacher. The rich Lưu Bình neglects his studies for a profligate life. The poor Dương Lễ passes the examination and propers as a mandarin, while Lưu Bình fails. Lưu Bình’s failure is not his only misfortune. Lưu Bình’s failure is not his only misfortune. He continues his drinking and gambling, becomes very poor, and lives alone in misery. Finally, he approaches Dương Lễ for help. Dương Lễ is aware of Lưu Bình’s former opulent life style and thinks that if he gives Lưu Bình money, his friend will only continue his bad habits to the neglect of his studies, and the his condition will worsen. Dương Lễ pretends to be a disloyal friend; he refuses to receive Lưu Bình and drives him away. On the other hand, he asks his co...

“Xúy Vân feigns madness” is one of the famous scene from Kim Nham, a popular Chèo play - Kim Nham. Kim Nham is a native of Xuân Trường District , Nam Định Province, an area well-known for producing outstanding scholars and talented statement. Kim Nham marries Xúy Vân and then goes to the capital study and become a mandarin. Left at home, Xúy Vân is hired by a perfidious woman. To remove herself from unbearable circumstances, Xúy Vân pretends madness. She takes up with Tran Phuong, an illiterate but rich merchant, who soon tires of her and sends her off. On her travels, Xúy Vân meets Kim Nham again. He pities her gives her a ball of cooked rice. When she bites into the rice ball, she finds a tael of gold. Ashamed of her infidelity to such a good man, she throws herself into river. This play has many lively, dramatic scenes, such as “The Perfidious Woman Laying out Her Wares,” “Xúy Vân feigns madness,” and Magician Exorcising Evil Spirits.”

“The Wrongful of Thị Kính” or “The tale of Lady Thị Kính” is a model of Chèo Theatrical Art in plot and “life bits.” It is also good example of the secularization of Buddhist tales. What is the origin of expression  “The Wrongful of Thị Kính”? The expression comes from the Chèo play Thị Kính, the Goddess of Mercy (Quan Âm Thị Kính) .  Thị Kính and her husband – Thiện Sĩ are a well-matched and happy couple. One night, the husband falls into a deep sleep after hours of studying. As Thị Kính fans him, she discovers an ingrown facial hair, which is considered an ill omen. Since she does not want to awaken him, she quietly takes a knife to his neck to remove the ingrown hair. Thiện Sĩ awakens suddenly to a knife at his throat. Terrified, he shouts to his parents, who come running; they accuse Thị Kính of attempted murder. She is banished from her in-law’s house. Grieving, she disguises herself as a man and becomes a “monk” with the religious name of Kính Tâm at V...

Whole villages take part in Chèo Theatrical Art. Traditionally, the stage is a sedge mat spread in the  courtyard of the communal house . All villages often participate in Chèo Theatrical Art. The stage is a sedge mat spread in the courtyard and the backdrop may provide the scenery. The musicians sit on two sides of the performing mat, and the audience surrounds the stage.  Chèo  musicians act as a kind of Greek chorus, commenting on and participating in the action. The dialogue between artists and musicians something even includes the audience to create an exciting atmosphere similar to a modern “happening”. In the past, Chèo artists were farmers without much money for staging, musical instruments, costumes, or props. The plays weren’t lavish affairs, yet through convention and stylization  in speech and singing, they created space (mountains, rivers, oceans, and so on), time (day, night, dozens of years, and so on), weather (...

Some Vietnamese cultural researchers believe "Stereotyping -  The characters in  Chèo  Theatrical Art are often conventional and standardized." What personalities are typical of characters  in Chèo Theatrical Art ? Unlike the characters in spoken drama, their personalities and psychology don’t change during the play.   They are drunken men, deaf teachers, wealthy men, prime ministers, students, flirtatious women, and buffoons. Chèos’ minor characters are so interchangeable among the plays that most of these parts have no names. However, over time some of these characters – such as from connection and anonymity to become strong personalities. Buffoons play an important role in  Chèo plays  because satire is a characteristic of the genre, as it is on the traditional stages of other Southeast Asian countries.   Buffoons amuse audiences, especially in sad stories. According to Shakespearean tradition, life is a mixture...

Some Vietnamese cultural researchers believe "Stereotyping -  The characters in  Chèo  Theatrical Art are often conventional and standardized." What personalities are typical of characters  in Chèo Theatrical Art ? Unlike the characters in spoken drama, their personalities and psychology don’t change during the play.   They are drunken men, deaf teachers, wealthy men, prime ministers, students, flirtatious women, and buffoons. Chèos’ minor characters are so interchangeable among the plays that most of these parts have no names. However, over time some of these characters – such as from connection and anonymity to become strong personalities. Buffoons play an important role in  Chèo plays  because satire is a characteristic of the genre, as it is on the traditional stages of other Southeast Asian countries.   Buffoons amuse audiences, especially in sad stories. According to Shakespearean tradition, life is a mixtur...

Cheo theatrical art and water puppetry are unique products of the Red River Delta civilization, but Cheo is the more refined art form.  What are the dramatic characteristics of Cheo theatrical art? Unlike Tuong, extols the epic deeds of members of the aristocracy,  cheo theatrical art   describes the life of ordinary country people.  It gives voice to  farmers’ aspirations for a peaceful life  in the midst of an unjust, feudal society. Many of plays also show the harsh lives of women ready to sacrifice themselves for others. Cheo   embodies a desire for happiness and a harmonious social world.  Good inevitably wins in the struggle between good and evil. Kind-hearted and gentle students always pass their exams and become mandarins, and the faithful wife is always united with her husband. Cheos’ moral messages reflect the  benevolence of Buddhism and the virtues of Confucianism ,  including the latter’s emphasis in harmonious...

In Vietnam culture,  Chèo  is one of traditional theatrical art forms which is on behalf of Vietnam. What are the origins of Chèo theatrical art? Since the first millennium B.C., the Red river Delta has been the cradle of the Viet peoples’ wet-rice-growing civilization within a culture reliant on villages. When farmers finished harvesting, they presented the first  Chèo  dramas in courtyards of communal houses dedicated to the village tutelary god. Bronze drums were part of ancient Vietnam culture. For millennia, farmers have beaten drums to ask the gods for rain. It is not surprising, therefore, that the central musical instrument of  Chèo  is the drum. Chèo  originated in the tenth century from folk music and dance, especially “Trò nhại” – simple mimetic skits. Bronze statue of King Le Thanh Tong These skits showed the lives ordinary people as well as of the royal family. Over time, writers consoli...

In Vietnam culture, Chèo is one of traditional theatrical art forms which is on behalf of Vietnam b eside Beijing O pera of China and Noh dramas of Japan. Chèo  hasn’t always been as popular as it was at the First National Traditional  Chèo  Festival, held in Ha Long city, Quang Ninh province from October 15 th  to 23 rd  2001. Over 700 artists from fourteen  Chèo  companies attended, performing fifteen plays among them. Even though the quality of life in Vietnam has improved since Renovation began in 1986, traditional art in general and  Chèo  in particular have met indifference and have failed to compete with more popular entertainments such as Western music and TV.  Chèo   performances in the cities have often played to empty houses. Reduced box office revenues forced managers to trim the plays to only excerpts. Even villages where Chèo originated were unable to attract audience. Young people, especially those ...