HUPPERT HEADLINES IN BEIJING

Isabelle Huppert strode into the interview room with the effortless elegance that has become her hallmark. Clad in a long black coat, white pants, and a pair of chic sunglasses that caught the room's light, her presence was magnetic.

One of France's most acclaimed actresses, she was in Beijing for her performance at the National Centre for the Performing Arts in US playwright Tennessee Williams' play The Glass Menagerie.

The production, staged from Wednesday to Friday as part of the NCPA International Theatre Festival 2024, marked her debut at the iconic venue as it brought to an audience her theatrical prowess well-versed in both modern and classical stage performances.

The play explores the fragility of dreams and relationships through the lens of a family: Amanda, her daughter Laura and her son Tom. Laura, who wears a leg brace, is painfully shy and often seeks solace in her collection of small glass animals. Tom, through whose memory the events are seen, is desperate to escape his stifling home life and warehouse job.

Huppert plays Amanda, a mother clinging to memories of a more glamorous past while attempting to navigate the stark realities of her children's futures.

"Amanda is a fascinating character — a mother with a commanding presence and overflowing emotions. She's a central figure in the family, but her relationship with her son can be stifling. Her portrayal resonates deeply with me," said Huppert during an interview at the NCPA on Tuesday.

"The play touches on themes of escapism, particularly through the son's fascination with cinema, which symbolizes another world. Williams himself had a deep connection to film, and this play feels like a tribute to that medium."

She adds that this play is almost a portrait of Williams himself. It reflects the strained relationships in his own life — his mentally fragile sister, and a mother who was neurotic and overbearing. There's a sense of violence and injustice in the family dynamics, which likely mirrored his personal experiences.

"Amanda, as a mother abandoned by her husband, focuses all her love and attention on her children, but they, in turn, seek their own escape. The emotional complexity of these relationships is what makes the play so compelling," she says.

Produced by Odeon-Theatre de l'Europe and directed by Ivo van Hove, the production premiered four years ago in Paris and then toured other countries, including Japan, the Netherlands and Italy.

When asked about what prompted her to accept the role of Amanda, Huppert says it was a combination of factors: Williams' masterpiece itself, the chance to work with the Amsterdam-based, Belgian-born Van Hove, who is known for a diverse range of work, as well as the role.

"I feel very fortunate to have collaborated with some of the most brilliant directors, each of whom have their own unique style and perspective," Huppert says.

"Theater is incredibly diverse. The range and scope of experience it presents has always been deeply inspiring."

In an early interview, Van Hove said: "When I spoke to Isabelle about the character of Amanda, I consistently described her as a remarkably resilient woman. No matter how many times life knocks her down, she always manages to get back up. It's important to understand that the family is not just fragile and vulnerable — they are also very poor. Amanda is a mother who fights with tenacity and courage, and embodies a spirit of relentless struggle.

"The production is a deeply introspective drama and, in a literal sense, a chamber play — it unfolds entirely within the confines of a closed room, an underground space with only a fire escape in the background offering a glimpse of the outside world."

Born in 1953 in Paris, Huppert is known for embracing complex characters, and has long been celebrated for roles that demand both emotional depth and intellectual acuity. She made her screen debut in Faustine and the Beautiful Summer in 1972, and by the mid-1970s, she had made more than 15 films.

In 1978, she was named Best Actress at the Cannes film festival for her performance in Violette Noziere and drew critical acclaim for her performance in Elle (2016), her first Golden Globe Awards for Best Actress, as well as her first Academy Awards nomination.

"Each role is a new journey," Huppert says.

"My journey in both film and theater began simultaneously in the 1970s. Both forms were incredibly appealing to me then. Over time, I've found myself leaning more toward theater. Right now, I'm involved in four productions simultaneously.

"The techniques for acting in film and theater are essentially the same for me, but theater has become more dominant in my schedule.

"As an actor, I feel very fortunate to have so much freedom and so many opportunities to travel the world and explore new artistic endeavors. I believe curiosity is key. It drives me to discover new things. Also, I'm not afraid of the unknown. Embracing the unfamiliar keeps me brave and creative."

Huppert says she has been to Beijing many times, and each visit has left a strong impression on her.

"There's a particular energy here. I've always been struck by the warmth and enthusiasm of Chinese audiences. It's surprising and delightful."

During a previous visit, she toured the National Centre for the Performing Arts. "Now, having the opportunity to perform here is truly special. I arrived just last night and have been rehearsing in this exquisite venue," she says.

Huppert also says that she sees a wonderful, growing connection between French theater and Chinese audiences, adding that collaborative relationships are vital in fostering this kind of cultural dialogue.

She expresses her admiration for Chinese directors who are well-regarded in Europe, such as Lou Ye and Jia Zhangke.

"Collaborating with them would be an exciting opportunity," she says.

The actress is currently in discussions about a project involving the training of Chinese actors.