Deep impression by the younger generation embracing Tuong
Q: You were once mentored by outstanding figures in traditional Tuong art, such as People's Artists Bach Tra, Dam Lien, and Quang Ton. Later, you also took on similar responsibilities. How do you perceive the difference between the students you teach now and your own experience as a student of Tuong art?
A: The last course I taught was a class of students sent from the south to study, graduating just over three years ago. So, three or four generations of artists at the Vietnam Tuong Theatre were once my students because I taught while still working at the Troupe 1 of the Theatre.
When speaking about the differences between learning Tuong nowadays and during my generation, it is clear that they are very different in many aspects, including mindset, passion, perseverance, and physical health.
In the past, Tuong students like us only focused on our majority, studying and working in the profession. Life was tough, but it was a common difficulty for society as hunger and plenty were shared circumstances. But now, it is different. The students have to dive into the market, doing all kinds of work to support themselves, so naturally, they are distracted from focusing on their professional training.
I’ll give just one example: When we were studying, whenever we had time off, we would try to visit our teachers’ homes, asking for extra lessons. I still remember the scene where we would sing while helping Artist Bach Tra sift rice, then, together with her, pick rice and grains. The students sang while working, and the teacher listened and guided us. Just practising one tune would often take two weeks, practising both in class and at home. Every moment, whether cooking, cleaning, or washing clothes, the song was always on our lips… But today, when the students are notified of a break, they take time off and work somewhere to earn money, "short-term gains to cover long-term needs". Many students get so caught up in side jobs that they forget the songs and dances, which is a common occurrence. Sometimes, when they step into a role after a long break, they are out of sync, and the immersion in the character is no longer as deep. During class, they are often distracted by their phones, and their health is much worse compared to our generation. Many students even have to ask to leave the class early because they are tired. For Tuong, every song and every move is like pulling from the heart; if you don’t have the stamina, it is really hard to fully express the character.
Q: This reality makes her most concerned about what?
A: Will the subtlety and essence of the arts that our ancestors left behind be preserved for future generations? In the past, teachers gave us everything they had, like silkworms spinning silk. Every teacher told us that we are professionals, and we must preserve our art form and pass it down to future generations so that the artistic traditions of our ancestors will never be lost. Teachers left 12 or 13 parts for us, and we were fortunate to retain ten parts, considered the "golden generation" of traditional Tuong art. Today, life influences many things, and the student’s immersion in preserving the traditional essence has been somewhat limited, making it difficult to retain the full ten parts of the artistic essence and standards.
However, I must say that, given the current circumstances, for the younger generation to choose Tuong and maintain six or seven parts of its essence is already very good in my view, and I am deeply grateful to them. So, I continue to learn from my teachers of the past., I hope to pass everything I know on to my students, with each one absorbing as much as they wish.
 |
People's Artist Hong Khiem with her student, young actor Kieu Phuong Anh, who learned the role of the female general Dao Tam Xuan from her and won a silver medal at the 2020 National Young Tuong and Drama Talent Competition. |
Hope for hereditary person
Q: As you have just shared, the social context has changed, and the mindset of young people toward traditional arts in general, including those who have chosen to study Tuong professionally, has also evolved. Do you believe that those who teach and pass on the knowledge of Tuong to today’s generation should or need to reconsider their teaching methods to adapt to the current circumstances?
A: As for others, I am not sure, but for me, there is no shortage of methods. The key is the exchange and connection between teacher and student. No matter how creative the teaching method is, if the student does not truly engage, it will be hard. However, once the student is passionate and immersed, any teaching method will yield results. When the students have a solid foundation of knowledge and listen to the teacher’s analysis of the characters to feel and understand it, absorbing the essence and subtlety of the craft, they are free to transform and be creative in their performance. In this way, they can both preserve tradition and express their artistic individuality.
From my experience, I can say that in the past, students would always make an effort to seek out their teachers to learn. Today, many students take on other jobs besides Tuong, so the teachers, being responsible for the profession and the art of passing it on, choose to approach the students and think about how to spark their interest in learning.
Q: I know that you also perform and pass on your knowledge to younger generations at non-professional Tuong troupes in your hometown and some other areas... Could you share more about this experience?
A: I also participate in the UNESCO Sen Viet Club, performing various roles in singing and dance performances. I do this for fun and to ease the nostalgia for my craft. I also hope to find young people who are passionate about the art, with both talent and physical strength, who can be informed when my Theatre needs them, ensuring a continuous flow of new, enthusiastic generations of Tuong artists. To put it jokingly, people like us are "taking the long way around" to support the Theatre. In many regions, even in my hometown, non-professional Tuong troupes are still preserved. Nowadays, with a better economy, people can invest in the cultural activities of their hometowns. They perform for the local community, exchange with other regions, and pass on their love for Tuong to many young people. This is why I want to contribute in some way.
In my extended family, my grandfather was a violinist in the traditional Tuong troupe of our village, and my father was once an actor in the troupe. As for me, I followed the profession professionally. My husband, People's Artist Han Van Than, studied a year before me and was an actor in the Theatre. Now, although our two children have not followed the Tuong arts, we have a granddaughter, the daughter of my younger brother, and a grandson, the son of my husband’s family, who are both actors in the Theatre. My granddaughter is the actress Kim Ngan, who plays the role of Mother Le in the Tuong play on the revolutionary theme "Tinh me" (Mother's Love). She also played Ho Nguyet Co very well, impressing People's Artist Minh Gai, as this was a key role for her. (People's Artist Minh Gai is one of the top actors at the Vietnam National Tuong Theatre, from the same generation as People's Artist Hong Khiem.) Despite her small stature, my granddaughter is very intelligent, learns quickly, and has a delicate understanding of the profession, so I place great trust in her. Additionally, my son-in-law, also an artist at the Theatre, completes our family legacy with three generations continuing the profession.
Thank you very much for your talks!
After graduating from the 1979-1983 Tuong Artist class at the Central Tuong Theatre (the predecessor of the Vietnam National Tuong Theatre), Hong Khiem became an official artist at the Theatre until her retirement in 2017. She can portray a wide range of roles, from tragic heroines to warrior women, notably the role of the female general Dao Tam Xuen, a character that the late People's Artist Bach Tra passed on to her as a trusted student. She has won numerous gold medals at national professional stage festivals and was honoured with the title of People's Artist in 2012.
