Australian performance on Chinese zodiac looks beyond words to bridge cultures

Many Australian children may not be familiar with the 12 animal zodiac signs of traditional Chinese culture, but for award-winning director Peter Wilson, there is no better way to tell a story — one without the use of words.

"There's no Chinese language, no English language. It's a universal story, it's about a child growing up, so whether you're Australian or Chinese, wherever you're from, children experience the same kinds of feelings about love and family," he said.

Wilson was speaking at a seminar on Aug 28 about the upcoming stage performance of The Dragon Child and the Twelve Animals of the Zodiac.

Directed by Wilson and performed by the China National Theatre for Children, the show, set for Sydney on Sept 26, is presented as a fairy tale for all ages, told without words and steeped in Chinese mythology, unfolding through live performances and puppetry in "a visual feast of exquisite costumes and scenery", according to organizers.

Performed globally over the past two decades, it has also received wide acclaim for its "powerful environmental message".

Wilson, who has worked across all forms of puppetry for five decades and is highly regarded for his contribution to the art in Australia, said The Dragon Child is "a story of growing up".

"The child grows up in this world and meets all these wonderful animal characters, and they offer her new ways of learning," he said.

Under the Chinese zodiac, the dragon is the only mythological creature among the 12 animals — the rat, ox, tiger, rabbit, snake, horse, sheep, monkey, rooster, dog and pig make up the rest.

Referring to the contrasting ideas and images that East and West may have of the dragon — one that is dangerous or fierce in Westen culture, compared to its Chinese counterpart that is seen as benevolent and auspicious — Wilson said audiences worldwide have not felt that difference.

"The fact that the child is born to the dragon, within the Chinese culture, tells you that there's an instant love and attraction … people have warmed to that, it's actually a beautiful character in the story," he said.

Australian stage, set and costume designer Richard Jeziorny highlighted how the show's environmental focus would also resonate with local audiences.

"The show is really strong in the way that the girl is not just meeting these different characters; it's that you get a very strong idea of what we have to preserve to keep our world safe and clean," he said.

Jeziorny added that it was "great to tap into Chinese culture" for the production.

"There are elements of traditional Chinese opera costumes in the show. We were making a work not just for children but for adults as well," he said.

Yuan Wei, deputy director of the China Cultural Centre in Sydney, which helped bring the performance to the city, said the zodiac embodies Chinese wisdom, infusing each year with cultural significance and reflecting optimism for the future.

"The center has long committed to promoting cultural exchange between China and Australia, bringing Chinese performing arts groups to Australia and supporting Australian arts groups to present their work in China," he said.

"This performance allows the zodiac tradition to further evolve into a story of humanity, with the animal signs living in harmony to build a beautiful home together," Yuan said.

"We are confident it will inspire more Australians to appreciate Chinese culture, foster more cultural exchanges between the two countries and strengthen friendships across borders," he said.

Yue Liwen, counsellor-rank consul for cultural affairs at the Chinese Consulate-General in Sydney, said the production, "by integrating puppetry, music and rich visual language to explore the themes of humanity and nature, is well worth anticipating".

"The dialogue-free approach transcends linguistic boundaries, making it accessible to audiences of diverse cultural backgrounds and ages," he said.

Wilson said "there is something incredibly powerful about bringing artists from different cultures together and simply allowing them to share — ideas, traditions, skills, stories, and different ways of seeing the world".

"Not to change one another, nor to decide whose way is better, but to listen, to remain curious, and then to make something together that perhaps none of us could have imagined alone. The Dragon Child became one of those rare opportunities," he said.