Beijing's 6th Theater Olympics shifts into high gear

Voices in the crowd

"This festival was initially organized by the Central Academy of Drama and the Chinese Research Association of Dramatic Arts. It was taken over by the government due to lack of funding. It would have been better and more professional if the government had let the original organizers take the helm even though it's not bad as it is."

Li Longyin, deputy general manager of Beijing Performance & Arts Group

"The whole performance is colored with expressionism, with the orderly beauty of simplicity and tidiness, yet full of mystery and a sense of sacred ritual. The director standing downstage, who communicates and sings with his actors, seems to serve as an oracle from ancient Greece and, therefore, turns into a medium between man and god."

Bai Ying, critic, on Prometheus Bound by Attis Theater of Greece

"I'm amazed by the beauty of physicality in Suzuki's Lear. It is not only exterior, in the costumes, etc, but also interior, from inside the body. The actors' feet seem to be planted into the stage, exuding a rhythm of dance whenever they move. It is the manifestation of Asian physicality, different from typical statues, which enables the actors to find their own gracefulness on stage. And it is derived from classicism and tradition, but has grown beyond them."

Tao Qingmei, critic, on Tadashi Suzuki's Tale of Lear

"Folding uses very few props and movements, yet it implies very deep cultural roots. In contrast, many of our shows use lots of stagecraft, but convey very little."

Han Ziyong, an officer at the State Arts Fund, on Shen Wei's Folding

"Wienerwald has depth of thought and subtlety of acting. It brings out the helplessness and misery of life. Its visuals were outstanding and, when the balloons flew upward, the audience broke into applause."

Wang Run, journalist, on Wienerwald by Deutsches Theater