{"id":8952,"date":"2011-10-07T08:52:38","date_gmt":"2011-10-07T15:52:38","guid":{"rendered":"http:\/\/diacritics.anotherwarmemorial.com\/?p=8593"},"modified":"2018-10-14T22:02:20","modified_gmt":"2018-10-15T05:02:20","slug":"it-takes-a-circus-xiec-lang-toi-part-ii","status":"publish","type":"post","link":"https:\/\/dvan.org\/2011\/10\/it-takes-a-circus-xiec-lang-toi-part-ii\/","title":{"rendered":"It takes a circus: Xiec Lang Toi, Part II"},"content":{"rendered":"

From one man’s a dream to a village of a circus. \u00a0In the second part of the series on the Vietnamese circus,\u00a0<\/em>L\u00e0ng T\u00f4i, diaCRITICS guest correspondent Ly Lan Dill speaks with the artistic and creative mind of the production,\u00a0\u00a0Tu\u00e2n L\u00ea, and finds out how he made his dream into the circus.<\/em><\/p>\n

[Before we begin: have you heard about our\u00a0subscriber drive<\/a>? Win an iPod and other prizes!<\/em>]<\/p>\n

The authors of L\u00e0ng T\u00f4i<\/em> generously agreed to share a long rehearsal to talk about the show, their careers, their thoughts on art and creation, and their upcoming projects. My Vietnamese not being up to the challenge of the double interview, I started with Tu\u00e2n L\u00ea<\/a>, the show’s artistic director, in English and then heard Nh\u1ea5t L\u00fd Nguy\u1ec5n’s version in French. Nh\u1ea5t L\u00fd, the show’s composer and coordinator, talked on behalf of himself and his older brother, L\u00e2n, the troupe’s trainer.<\/p>\n

\"\"
Tu\u00e2n L\u00ea<\/figcaption><\/figure>\n

The press packet states that the idea for the show was conceived and created in H\u00e0 N\u1ed9i. What it does not mention is that the roots of the show do indeed begin in Viet Nam, but some 30 years back. At the time, Nh\u1ea5t L\u00fd Nguy\u1ec5n, already an accomplished artist, was studying music with Tu\u00e2n L\u00ea’s father, the reknowned trumpeter L\u00ea Tien Trach. Tu\u00e2n L\u00ea was still a young boy but already heavily influenced by his artistic family, especially by his older brother who studied the circus arts. At eight years old, Tu\u00e2n L\u00ea\u00a0was\u00a0 performing a juggling act inspired by Charlie Chaplin in small venues in Th\u00e0nh Ph\u1ed1 H\u1ed3 Ch\u00ed Minh (TPHCM, Ho Chi Minh City).<\/p>\n

Tu\u00e2n L\u00e9 started at the National Circus School in TPHCM. He later obtained a visa to study in Russia, as had his brother. At 13, he went to Germany with his family and after a difficult period of adjustment, he started training again at a German circus school. Very quickly he became a much sought after juggler on the German cabaret circuit.<\/p>\n

As he tells it, he was looking to expand his horizons and remembered his father’s former student, Nh\u1ea5t L\u00fd Nguy\u1ec5n, who had continued his studies in Paris. Nh\u1ea5t L\u00fd’s older brother, L\u00e2n, had also trained at the National Circus school in Vietnam and had gone on to perform with Cirque Plume<\/a> before becoming artistic director of a circus school, Arc en Cirque<\/a>, in Chamb\u00e9ry, France. Tu\u00e2n L\u00ea headed to France and found the two brothers. They remembered a little boy at their teacher’s home; here, they met a fellow artist and peer.<\/p>\n

It was during this time in Paris that they started to dream of creating a new Vietnamese circus. They knew they wanted to go back to create a truly Vietnamese circus. Nh\u00e2t Ly states it well when he says, \u201cThere are a lot of great performers in the world. Who are we? Just three guys. We needed to focus on what makes us different and that is being Vietnamese.\u201d<\/p>\n

The three were given their chance in 2005 when they were invited to give a 3 week master class at the National Circus School of H\u00e0 N\u1ed9i.<\/p>\n

\"\"<\/p>\n

L\u00e2n Nguy\u00ean worked with 9 groups of 10 performers every day, asking each to invent a new show per week. With the rough outline of 27 shows, Tu\u00e2n L\u00ea got to work on putting together the best acts and organizing a full length performance. Nh\u00e2t Ly went and found traditional musicians and worked on improvising a score based on the movements of the performers. The creative process was radically new for the performers and musicians. Tu\u00e2n, L\u00e2n, and Nh\u00e2t Ly asked them to use their own creativity, to find their own idiom. They were no longer to do what they were told but rather use what they knew to create something unprecedented. Tu\u00e2n L\u00ea admitted that it was a unique creative opportunity; one that might not be possible any longer. With a troupe of roughly a hundred, the three put on the first incarnation of L\u00e0ng T\u00f4i<\/em>. It was met with mitigated results.<\/p>\n

The premiere on May 5, 2009 had been billed as a circus show for the whole family. The public was expecting bears and monkeys, bright lights, and colorful costumes. They did not know what to make of the drab, brown clothing, the dim lights, the graceful but non-spectacular acts. They had been given artistry and emotion; they had been expecting entertainment and lightheartedness. There were those who understood and appreciated the show but it was not the success the three had hoped for.<\/p>\n

Tu\u00e2n went back to Germany to continue perfecting his own performances. L\u00e2n went back to Chamb\u00e9ry and his circus school. Nh\u00e2t Ly went back to Paris to finish his Master’s in Musicology. He had recorded the show and decided to show it to his thesis supervisor. Seeing the potential, his supervisor found French funding and producers for the show. The three were asked to cut the troupe down to 14 performers and 5 musicians, to tighten the plot, and make other adjustments in view of a European tour.<\/p>\n

The current version of L\u00e0ng T\u00f4i<\/em> was born. It premiered in Paris in 2008 at the Quai Branly Museum, the Paris museum of primitive arts. By premiering there, the new producers squarely placed L\u00e0ng T\u00f4i<\/em> as an artistic creation, and also as an exotic one, a new Vietnamese circus.<\/p>\n

With over 100 performances throughout Europe and Canada over the past three years, L\u00e0ng T\u00f4i<\/em> has come back to Paris this summer as part of La Villette’s circus festival. And as such, it has accomplished Tu\u00e2n L\u00ea’s dream: a new circus from Vietnam.<\/p>\n

\n

\"\"<\/p>\n<\/blockquote>\n

Looking back on his career path, Tu\u00e2n L\u00ea admits his family was not easy with his choice of an artistic career but with the years and the success, they more readily accepted his chosen path. He is proud of having been able to bring back to Vietnam the idea that the circus is not just entertainment. The more an artist invests into his performance, the more he receives from his audience; that is the lesson he hopes he has conveyed to the troupe, that a performance is not about showing off but about breaking walls to communicate emotions. He is also proud of having giving the Vietnamese performers hope that they are capable of showing the world another vision of Vietnam, a vision of youth and creativity that is not overshadowed by the geopolitics of yesteryear.<\/p>\n

During our hour chat, Tu\u00e2n L\u00ea very professionally and smoothly outlined what seems to be a fairy tale come true: an initiatory journey of the young man who left home, descended into the underworld of suffering, was reborn stronger than ever, and returned home bringing back the lessons learned. The man behind the performer appeared not in what he said but rather in what he did not say. Not once did he mention being the first Vietnamese to tour with the Cirque de Soleil in 2009 with Banana Shpeel<\/em>. Nor did he mention becoming the first Asian to win the Award of Excellence<\/a> from the International Juggler’s Association (IJA) in 2010.<\/p>\n

Talking of future projects brought out a more passionate voice. In the next 10 years, he hopes bamboo acts will become mainstream and perhaps in 20 years, there will be more personal circus performances that convey a story and a message. When asked if he was considering creating a school for his brand of circus, he modestly side-stepped the question, agreeing that at some point there might be the need to create a school but for now, his projects are more towards working with other artists such as Nguy<\/a>\u1ec5<\/a>n L\u00ea<\/a> here in France, a number of dancers in the United States. \u201cThere is no category of Vietnamese living abroad… Where you live changes how you work. My generation lives abroad and we have the magnificent chance to create projects. The difficulty is that everyone is everywhere. We need a meeting point to come together.\u201d<\/p>\n

Ly Lan Dill was born in Viet Nam, she grew up in the US, and is now a Paris-based translator.<\/em><\/p>\n

\u2013<\/p>\n

Credits:<\/strong><\/p>\n

Stage Director: L\u00ea Tu\u00e2n Anh<\/p>\n

Authors: Nhat Ly Nguy\u1ec5n, L\u00ea Tu\u00e2n Anh, Lan Maurice Nguy\u1ec5n<\/p>\n

\u2013<\/p>\n

Please take the time to rate this post (above) and share it (below). Ratings for top posts are listed on the sidebar. Sharing (on email, Facebook, etc.) helps spread the word about diaCRITICS. And join the conversation and leave a comment! What are your thoughts on the development of\u00a0L\u00e0ng T\u00f4i<\/em>? Do you prefer the normal circus or a more artistic circus?\u00a0Excited for more on\u00a0L\u00e0ng T\u00f4i<\/em>?<\/p>\n","protected":false},"excerpt":{"rendered":"

From one man’s a dream to a village of a circus. \u00a0In the second part of the series on the Vietnamese circus,\u00a0L\u00e0ng T\u00f4i, diaCRITICS guest correspondent Ly Lan Dill speaks with the artistic and creative mind of the production,\u00a0\u00a0Tu\u00e2n L\u00ea, and finds out how he made his dream into the circus. [Before we begin: have […]<\/p>\n","protected":false},"author":1,"featured_media":9004,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_vp_format_video_url":"","_vp_image_focal_point":[]},"categories":[7,50,98],"tags":[256,439,465,720],"yoast_head":"\nCircus | L\u00e0ng T\u00f4i<\/title>\n<meta name=\"description\" content=\"Ly Lan Dill takes us to a circus, where L\u00e0ng T\u00f4i weaves Vietnamese culture and music alongside circus acrobatics and artistry.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dvan.org\/2011\/10\/it-takes-a-circus-xiec-lang-toi-part-ii\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Circus | L\u00e0ng T\u00f4i\" \/>\n<meta property=\"og:description\" content=\"Ly Lan 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