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Chinese Theatrical Aesthetics Shine in Avignon
“My Name is Ah Dun” Makes Its World Premiere

In the blazing summer heat of southern France and the fervent energy of the stage, a panda named Ah Dun from Beijing has arrived in Avignon, intoxicated by the scent of lavender and carrying with him a message of kindness and courage from Chinese theatre artists to the world.

On July 20 (local time), the puppet play “My Name is Ah Dun” had its world premiere at the Nouveau Théâtre Brillant during the 79th Festival OFF Avignon. The festival runs from July 5 to 26, and performances of this production will continue until the closing day.

An Imperfect “Ah Dun” Becomes His Best Self

Just a year ago, Ah Dun—plump, round, and full of charm—appeared at Paris landmarks, greeting Olympic visitors from around the world with the warmth and generosity unique to Chinese culture. Even the production team could not have foreseen how he would take the stage in Avignon one year later.

The venue, Nouveau Théâtre Brillant, where China’s Santuoqi Theatre Company has performed for over a decade, is nestled among historic buildings. Once the audience is seated, the tables and chairs outside transform into a cozy space for a post-show drink—offering a striking contrast to the emotional journey Ah Dun undertakes on stage.

Produced by the Beijing Federation of Literary and Art Circles, and supported by the China Literature and Art Foundation, Beijing’s Cultural Development Fund, and the “Great Plays in Beijing” Theatre Incubation Platform, “My Name is Ah Dun” tells the story of a panda orphaned by an earthquake in the ancient and beautiful village of “Amizhai.” Raised by friends, young Ah Dun carries guilt and grief, believing he could have saved his parents if he were stronger or faster. Inspired by his idol Bing Dwen Dwen, he dreams of becoming a champion athlete. But on his journey, he comes to realize that he doesn’t need to become anyone else—he only needs to become the best version of himself. This endearing, slightly clumsy panda turns out to be a nimble climber, and in becoming his truest self, he embodies the play’s central theme: embracing our imperfections.

A Multinational Creative Team Showcasing Chinese Theatrical Values

Inside a 100-seat theatre, a team of ten actors takes turns manipulating puppets and performing intricate scene transitions using Chinese opera techniques. Such a rich cast and elaborate form are considered a rarity in the OFF section of the Avignon Festival. The show weaves in elements of shadow play, paper cutting, and the Sichuan opera stylings of the circus master character, all infused with Chinese aesthetics.

To fully bring out Ah Dun’s innocent, childlike nature, multiple puppeteers often work in tandem to manipulate both him and his props. Their seamless coordination moved audiences from France, Italy, Australia, Korea, and beyond. “It didn’t feel like the actors were just controlling the puppet—they were breathing life and emotion into Ah Dun,” one audience member said.

With minimal sets, the stage becomes a canvas for poetic transformations: a handful of bamboo poles become a lush forest. This abstract theatricality and imaginative space align closely with traditional Chinese staging principles. During curtain call, the actors’ dark red Chinese costumes were soaked through from the heat and the intensity of the performance, yet they still emerged afterward—puppets in hand—to engage directly with festivalgoers. Though drenched in sweat, their passion for sharing Chinese culture and creative vision was undiminished.

One young French audience member said: “I didn’t understand the language or follow the subtitles, but I completely understood what Ah Dun wanted to tell us—that courage and friendship can overcome anything.”