Chinese Theatre Works – “Red Gate: Pauline Benton & Chinese Shadow Theatre in America” (Opening Reception)

The heart of Chinese Theatre Works’ collections of shadow figures, The Pauline Benton Collection represents a significant historical and ethnographic treasure trove as well as an artistic resource. Pauline Benton began collecting these figures in China during her stays in Peking during the 20’s and 30’s. Some of the shadow figures in the collection were already antiques she acquired them. A few date back as far as the 18th and early 19th centuries; and many regional styles of figure design are represented. Most of the figures in the collection Benton commissioned from local shadow craftsmen in the “Luanchow” style, popular at that time around the vicinity of Peking. She also commissioned several complete sets of figures and large scenic units somewhat larger than the traditional Luanchow-style figure, (14-19” tall, instead of the usual 9-12”).

The 2000 year old craft of Chinese shadow performance had reached its highest point of development as a popular art form in the late 19th century during the waning years of the Qing (Manchu) Dynasty, when almost every village and town in the vast countryside had as least one shadow company. Hundreds of companies large and small were active in the cities, passing their skills, their traditional repertoire and their collections of figures down for generations. But by the time Benton arrived in Peking, in the mid-1920’s, the social/political turmoil that followed the collapse of the last Imperial Dynasty, and the civil war chaos of the Republican Period (in conjunction with the advent of Western entertainments, such as cinema) meant that many of the old shadow troupes were closing down. Some of the fine older figures and scenic pieces that Benton acquired were from the stocks of these defunct or struggling companies.