Spring at Zhong Xi: A Study Journey at the Central Academy of Drama
Updated: Apr 27
Over the course of two years, I completed both the theoretical and practical components of the Master’s programme in Musical Theatre, benefiting during the first three semesters in Galați from the guidance of several remarkable mentors: the internationally renowned director, actor, and professor Vladimir Bouchler, the soprano Hildegun Pettersen (Musikkteater Høyskolen, Oslo, Norway), and the director and scholar Bogdan Ulmu(Timișoara University, Romania). These semesters culminated in a series of musical theatre productions performed in Galați, Baia Mare, and Cluj, applauded by audiences that included the Ambassadors of the United States and the People’s Republic of China.
The final semester formed part of a four‑year cultural and academic collaboration between the Chinese Embassy in Bucharest, the Romanian Embassy in Beijing, and UNESCO Youth Romania. Within this framework, fifteen Romanian students from across the country travelled to Beijing to work at the Central Academy of Drama (Zhōngyāng Xìjù Xuéyuàn, known as Zhong Xi), Asia’s most prestigious institution for theatre training (many of China’s most prominent actors, including Zhang Ziyi, Gong Li, and Yang Yang, are alumni of this institution).
Between 13 March and 30 May 2016, we undertook an intensive educational programme in the Department of Musical Theatre hosted by the ultramodern campus in the Changping district (Wendu – “The City of Water”), a vast complex dedicated entirely to the performing arts and film. Our curriculum included Acting Art, Vocal Training, Stage Movement and Ballet, and Chinese Language and Culture, and it culminated in the English‑language production of The Drowsy Chaperone (Lambert, Morrison & Martin). The production was created under the guidance of Professor Zhao Yongbin, a celebrated dancer, actor, and director who travelled from Japan specifically to teach us.
The first two weeks consisted of an intensive workshop in improvisation, vocal training, and stage movement, followed by casting preparations. My performance of Aldolpho’s song secured me the role of the self‑proclaimed “King of Romance.” Professor Zhao emphasised that, in musical theatre, vocal quality is the primary casting criterion. After casting, we moved into text rehearsals, building both the inner and outer structure of each character. Professor Zhao also introduced us to the Academy’s pedagogical philosophy: an actor must first become an athlete, then a soldier, and only afterwards an artist. Physical strength, precision, discipline, teamwork, and breath control formed the foundation of our daily training. We practiced coordinated breathing and movement exercises, facial‑muscle expressivity, and ensemble synchronisation before progressing to scene work. Vocal coach Lu Liu guided us through complex solo and choral pieces, while doctoral student Alin Costea provided essential musical assistance. Once character work was established, we moved on to blocking and choreography, refining interpretive challenges at every rehearsal.
One of the scenes — a burlesque moment set in an oriental palace — required lines and a song in Old Chinese. With the help of Professor Geng Guangyi, we incorporated authentic linguistic and stylistic elements, and I studied aspects of Beijing Opera (stock character walking, voice, fan tosses) to portray The Emperor HuangDi.
"An actor must first become an athlete, then a soldier,
and only afterwards an artist."
Professor Zhao Yongbin
Teamwork proved essential, and the pace of professional growth was extraordinary. In less than two months, we created a demanding and cohesive performance, presented to audiences composed almost entirely of Academy students and professors, the only individuals allowed inside the institution(a veritable Forbidden City... of the Theatre). After the performances, we received warm congratulations from both Chinese faculty and Romanian community. For several years, our production was featured on the Academy’s Honor Board, a distinction that affirmed the value of our work and the visibility of Romanian artistic training in Beijing.
Upon returning to Romania, we presented the production again as part of our dissertation examination, in the presence of His Excellency Xu Feihong, Ambassador of the People’s Republic of China in Bucharest.
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