The National Acrobats Of The People’s Republic Of China
by Geoffrey Paddy Johnson on November 4, 2011
With the rise (and rise) of circus performances in the mold of Cirque de Soleil, western audiences have become more familiar with the astounding acts of physical ability acrobats can achieve, and also increasingly with an old school notion of razzle-dazzle to accompany such acts. Sets and costumes have evolved to elaborately frame these displays and a light narrative or theme is invoked to suggest continuity and order. The circus, in the last two decades, has evolved dramatically. Indeed it is safe to say that spectacle is established as the ruling aesthetic for Hollywood, and now Broadway.
Honing close to a tradition that reaches back centuries and, more formally, under the auspices of a state initiative established by the People’s Republic of China in 1950 – when twentieth century political propaganda was at a hysterical pitch internationally – where do such innovations now leave an outfit like The National Acrobats of the People’s Republic of China? This year The National Acrobats are conducting an inaugural tour of the United States (timing, you should understand, would be one of their strong points) and a lucky audience at a performance given at the Brooklyn Center for the Performing Arts were given an opportunity on Saturday, October 29th,to assess.
