Within the framework of the 6th International Experimental Theatre Festival - 2025, on November 27, a workshop was held to focus on clarifying the trend of innovation in staging forms. In fact, contemporary theatre is increasingly moving away from traditional storytelling towards direct, visual, physical and multimedia experiences.
Don't chase superficial effects
Many opinions from the presentations and discussions at the workshop emphasized that experimenting on stage is not about chasing after novelty or superficial effects, but is a serious and long-term thinking process. In which, we must find harmony between cultural identity and new artistic language.
Physical play “The Universe” by Theatre Lab Production (Mongolia)
Therefore, the International Experimental Theatre Festival is not only a series of performances but also truly becomes an "open laboratory" for Vietnamese theatre in the journey of innovation and integration.
According to journalist Nguyen The Khoa - Deputy Director of the Institute for Research on Preservation and Promotion of National Culture, Editor-in-Chief of Van Hien Magazine, Head of the Seminar Committee of the 6th International Experimental Theatre Festival - this year, many groups brought experimental models that have been tested at major festivals around the world and still clearly maintain their cultural identity. Experimental trends in physical, non-verbal, visual, technology-multimedia combination theater... show that today's stage, in addition to storytelling, also creates a space for perception, where the audience "participates" and not just "observes".
Experts all acknowledged that the play "The Universe" by the Theatre Lab Production (Mongolia) made an impression at the festival. The work exploits physical drama combined with ancient Greek philosophical thinking, inspired by the image of Prometheus, placing humans in a dialogue with natural elements, between light and darkness, between creation and destruction.
Researchers consider this a typical experimental model, where body language and space become "visual thinking", replacing dialogue. That also opens up suggestions for Vietnamese theater in combining traditional elements with modern spirit.
In another experimental direction, the Thuy An City Vietnamese Drama Troupe (Zhejiang - China) with the play "Pipa Song" shows the ability to innovate right on the traditional foundation. The story of Thai Ba Giai - Trieu Ngu Nuong, although old, is renewed with body language, music and minimalist stage rhythm, rich in symbolism.
This is considered a typical example of renewing traditional elements, when classical values are not destroyed but are revived by contemporary stage staging techniques.
Explore and create
Referring to a problem of Vietnamese experimental theatre over the past years - confusing "formalization" and "innovative thinking", Associate Professor, Dr. Nguyen Thi Minh Thai emphasized: "We should not follow strange forms, but need to find harmony between identity and new language".
In many plays labeled as "experimental", the "strange" element only stops at "breaking" the spatial layout, mixing strange costumes and props or deliberately breaking the narrative structure, but lacks a supporting internal value system. Without an internal cultural and aesthetic foundation, the "strange" element easily becomes a visual effect, not the result of an artistic thinking process.
In that context, foreign delegations attending the 6th International Experimental Theatre Festival brought an important message: Identity is not for "decoration" but for "translation" into other languages.
Participating in the festival, art units in Ho Chi Minh City with plays such as: "Illusion" (Small Stage Drama Theater), "Jade Poetry Soul" (University of Theater and Cinema), "Mountains and Rivers" (Sen Viet Theater), "Moon Summer" (Hong Van Theater)... experimented with new staging methods in a spirit of exploration and creativity, in order to still sell tickets.
Dr. Nguyen Thi Thanh Van, Hanoi University of Theatre and Cinema, said: True experimentation must start with understanding one's own identity, then one can dialogue with the new. Without identity, all "harmony" is just superficial borrowing.
Don't just "press the effects button"
According to People's Artist Tong Toan Thang, Director of the Vietnam Circus Federation, experimentation should be seen as a long-term thinking process, not just "pressing the effect button" on stage. With this mindset, many troupes always explore and create, not having the mentality of preparing a play in time for a festival or a competition.
"Pressing the effect button" - using multimedia, breaking linear structures... - can create new feelings. However, if it lacks depth of thought, it will only stop at technique and not be an artistic language" - People's Artist Tong Toan Thang emphasized.
In fact, many of the plays presented at this experimental theatre festival have participated in many international festivals. This shows that each choice of form on stage is the result of a process of thinking - testing - adjusting - systematizing, associated with the long creative journey of the director and artist; not just a project to participate in a festival.
That also sets a standard for Vietnamese theater: When pursuing real experimentation, one must demonstrate the thinking process, not just produce a "strange finished product". Therefore, many experts consider the International Experimental Theater Festival as an "open laboratory". For Vietnamese artists, the festival is not only a place to perform but also an opportunity for them to change their mindset, from inferiority to dialogue.
The experimental space is not a place for "one-way performance". International groups do not come to impose or show off techniques, but to experiment together in a specific context in Vietnam, with Vietnamese audiences. In that process, Vietnamese artists become partners. The festival also becomes a catalyst to activate the cycle of listening - watching - thinking - trying.
The assessment of the International Experimental Theatre Festival as an "open laboratory" also implies that there is no standard experimental model to copy. What is important is the spirit of daring to try, daring to question oneself: which model is suitable for Vietnamese stage conditions, for the audience and Vietnamese identity? Experimental theatre is not a short-term movement, but a long-term adaptation strategy of Vietnamese theatre in the face of competition from modern audiovisual entertainment forms.
Many plays performed at festivals by foreign troupes such as Theatre Lab Production or Thuy An Vietnamese Drama show that serious theatrical experimentation does not destroy the roots, but rather helps cultural roots appear more clearly in new forms.
Experimental theatre in Vietnam also needs to move away from "formal tricks". Experimental theatre in Vietnam needs to aim for long-term thinking, where identity dialogues with new languages, in an "open laboratory" - so that each experiment becomes a sustainable step on the path to innovation of the stage.
Source: https://nld.com.vn/san-khau-thu-nghiem-hanh-trinh-sang-tao-lau-dai-196251127210816473.htm
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