Director Nguyen Hoang Tuan

A director is a person who sees the whole of view of a play, making the structure for each act, organizes language, actions of characters harmoniously with the author of screenplay. In the late 20th century, director has played a role of a person who lives with screenplay. In the early 21th century, director has been a person who organizes pieces.
Since its birth, puppetry has been performing actions, a puppetry director has difficulties in arranging acts, organizing puppet’s actions to be as realistic. Screenplay author, director, graphic painter is a threesome to create a play which is a distinctive feature of a stage puppetry director. Director Nguyen Hoang Tuan masters those features because he was descended from a puppetry artist. In years of newly became an actor in 1978, he had to soak himself under water to control the puppets and learnt to control land puppets… Each action of a puppetry has to do with the emotion described in literature language, stage events. From rich practical experiences, Hoang Tuan who graduated from the direction class of Stage – Movie University in 2000 stepped to the stage with strong stuff. Plays directed by Hoang Tuan have been outstanding with language and actions of puppets which reflect the real life, he put into each puppet a characteristic. Each action of a puppet represents a state of mind and theatricalitywhich makes impression on the audience and patch up to their feelings. Hoang Tuan has transferred many forms of folk puppetry into water puppetry programs such as Thurifying Ceremony, Fairy Dance. He organized many attractive water puppetry and continues to make some land puppetry plays like: Lovely pets, straw puppets, Hip-hop dance, the eastern beauty, Giong Holy, Myth of fairy and dragon. In water puppetry acts, director organizes the language and actions of puppets flexibly with unaffected folk, the deliberate acts are in harmony with natural landscape, village ponds with lotus essence, huge rice fields run to the horizon while land puppetry causes outstanding contrast. Language in puppetry plays is modern; actions are quick rhythm which urges new feelings. In “lovely pets”, the director exploits the strange things, the unaffected instinct of each pet causes the harmony and integration to the living environment and human – animals and nature can live in peace and happiness. In Giong holy play, the director opens a world of emotion which evokes sacred feelings, boundlesssacrifice of Vietnamese heroes’ mothers. Impressive source of feeling in the final part when Giong flies back to the sky, his mother run in the fade call sinking into lonely fate space is a message that each person today should live and perform to reduce the pain of mothers who lose their children for beloved motherland. Modernity in each land puppetry play, director Hoang Tuan expresses impressionism art with actions and language of the puppet. “Eastern beauty, hip-hop dance” play bring audience unusual attractions and exciting rhythm. Each puppet represents the beauty and lifestyle of current young generation and eastern cultural features together with the flow of lifestyle in the time of integration, harmonious character and pleasure for innovation. Each play opens feelings to the audience to perfect all arguments in real life, behavior culture of human beings.
Hoang Tuan is confident to reveal a dark corner to light up from affectionate human feelings. Each puppetry play is not noisy with complicated philosophy but whispers with aspiration, and is sorrowful to open a horizon of feeling. Confiding in me before saying goodbye, he revealed that he has had a lot of plans, dreams to be carried out: To train young qualified generations to follow the steps of the predecessors, to apply to use an old cinema to build a “Palace” for children’s watching. Besides, he also said that: “I want to do these works as this Theatre has been, for a long time, my second home. When I passed away, my soul will always be here.”

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