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The small-in-stature performer has an enormous catalogue of past roles, acting in 500 roles in comedies and tragedies, transforming himself into characters old and young, good and bad, male and female and even creatures.
Stage accidents have endangered his life several times. He was hospitalized in 2006 after hurting his spine in a dangerous stunt for which he did not use a double.
Of all the plays you have performed, which is your most favorite role? Thanh Loc: My performing career stretches over more than 30 years. The difficulty of many of the roles often fades from the memories of the artists and the audience. Each role is like a child. Having many children, it's not easy to choose which one you love most.
Who is the best female performer you've worked with on stage?
I'm not praising myself, but most artists who work with me say they feel enormous pressure because they're told I am a kind of hard man to please. But I am also known for creating favorable conditions for my partners to showcase their talents.
Many actors believe they can only act well with a certain partner. I always try to make sure my performances compliment my partner, no matter who it is.
How do you value a performer?
There are two things I usually use to assess the potential and talent of a performer. Firstly, he or she must not be afraid of being ugly. Secondly, he or she should not be a crazily picky person, who always compares one role with another. A talented performer should be one who can act in any role in a distinguished way.
You are neither a handsome nor well-built guy, which is usually considered important to becoming a famous actor. Have you ever encountered any difficulties in your performing career?
Though I am neither tall nor good-looking, I am proud that I have successfully won over the public. But I hardly ever receive honors or recognition from officials. Authorities in the arts sector do not like me because I am such an honest and straightforward man who talks about the problems and taboos in the industry. The disconnection between the arts officials and the artists used to make me feel very disappointed and I often considered quitting the industry. However, my raison d'être is the performing arts, not money or social status. I can ignore the few who dislike me because I am loved by millions.
Do you feel satisfied with what you have done so far?
I'm happy that I've been successful in my career with my own endeavors without trampling upon any colleagues. The only thing I feel a little sad about is getting old. I am afraid of not being healthy enough to make further contributions to the local stage. I have yet to open my own theater or introduce state-of-the-art plays to the public. The biggest thing I feel sorry about is that I don't live in a favorable environment for artistic creativity. Most of the time, the censorship is irrational.
Why do you say the censorship is mostly irrational?
Though the local entertainment industry has been improved over the past years, there still remain backward instructions that deter the development of the arts. I think Ho Chi Minh City's artists, however, are luckier than any artists in other cities and provinces within the country since the municipal authorities are more open-minded and courageous. At present, HCMC is the only place in the country that stages sexy plays.
In such unfavorable conditions, how can you catch up with the foreign counterparts?
I have several overseas Vietnamese friends who usually send me information, CDs and DVDs about the latest plays. On any trip to developed countries, I never regret spending all of my savings on going to the theater. For instance, in the US, spending some US$250 to watch a play is not all that expensive.
To a Vietnamese artist like me, it takes a month to save this but is well worth the trouble. Sometimes, I feel like I am dying, working over and over under the supervision of near-sighted people in dull and stagnant conditions. Each trip away is a great chance to refresh my mind, learn new things and recharge my energy so I can continue my work as soon as I am back home. I feel like I have been reawakened and have more determination to try.
When Vietnamese performing arts officials go abroad, they should look try to get to know the arts and try to understand how the arts can be developed, rather than spending their time shopping and going to casinos.
This article first appeared on www.thanhniennews.com
June 25, 2008
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