Original title: Cao Yu’s birthday anniversary, Beijing Renyi Cao Yu Theater staged a new row of “Thunderstorm”
“Cao Yu, who can’t talk about it, and “Thunderstorm” that can’t be done”, on September 24, on the anniversary of Cao Yu’s birthday, Beijing Renyi’s new row of “Thunderstorm” was staged in the newly completed Cao Yu Theater of the Beijing International Theater Center.
This version of “Thunderstorm” is directed by Pu Cunxin and Tang Ye, starring Pu Cunxin, Gong Lijun, Bai Hui, Li Hongtao, Wang Junqi, Chen Hongxu, etc. The new main creation lineup gives a new poetic interpretation of the classics.
Mr. Cao Yu’s “Thunderstorm” is a household name in China, and it has been put on the stage in various art forms. Pu Cunxin said that this new row is not simply a reinterpretation of the story, but more about digging into the text resources of Beijing People’s Art. “The script of the old dean must continue to be performed.”
Pu Cunxin, who once played Zhou Ping in the play, has always had a “thunderstorm” dream in his heart, “Dong Nian was four years ago, and really started preparations two years ago. We have introduced “The Wedding” by the National Model Theater of Belarus. , Is the 17th version of this play by their troupe. I think our Renyi can also have many versions and different interpretations of “Thunderstorm”. This is the attitude of our Beijing Renyi.”
In this new version, Pu Cunxin, who once played Zhou Ping, is “upgraded” to Master Zhou Puyuan, while also “upgraded” are Gong Lijun, who once played Fanyi, and Baihui, who once played Sifeng. This time, they became respectively Lu Shiping and Fanyi. Familiar actors, familiar roles, but the relationship between actors and roles, and between roles and roles, gives the audience an imaginary but unexpected feeling.
Zhou Puyuan, played by Pu Cunxin, as a feudal parent who has ever studied abroad, has been presented with a more complex image of openness and repression on this stage; Gong Lijun’s Lu Ma, behind her forbearance, has more tenacity. And Independence, every appearance and action of her brings with her past life imprints and rich emotional background; Bai Hui’s Fanyi is more external than previous versions; Li Hongtao’s Lu Gui is no longer just a small person. Cunning, but more affection between father and daughter with Sifeng, more rationality of this character in his own position.
The outstanding performance of a group of young actors is quite amazing. Wang Junqi’s eldest master Zhou Ping highlights the complexity and fragility of his inner weakness. Chen Hongxu’s Sifeng leaves a deep impression. Besides being simple and kind, this A young actor fully demonstrated the character’s struggle, helplessness and despair in the entanglement of fate, and the wonderful performance maximized the empathy of the audience.
“Everyone is warm.” In Pu Cunxin’s opinion, Cao Yu used poetic language to give each character infinite love and compassion. “The theater is a place where miracles occur. The audience walks in to seek miracles. theater.”
Tang Ye, another director of the play, emphasized that the goal of this creation is to “decipher the feelings and spiritual connotations embodied in Cao Yu’s works”.
“For example, why did Zhou Puyuan move? It actually revealed a big theme, implying his knowledge of family turmoil. For example, Lu Shiping called’Pu Yuan’ the only time in the play. What kind of emotion is behind this? Who gave the gun in Zhou Ping’s hand? We found these details from Mr. Cao Yu’s undetermined script in 1934. They are like clues, stringing them together, so that we can produce the right characters. Different interpretations.” Tang Ye said.
At the same time, the new version of “Thunderstorm” adds a prologue and an epilogue, and there are also some new presentations on the stage in relation to certain characters.
The whole stage of the new version of “Thunderstorm” highlights the concept of “poem”. The “cloud” above the stage becomes the visual center of the stage design, layered on top of each other, romantic and beautiful, and has a strong ideographic function. A local antique sofa in Wuxi in the 1920s and 1930s was put on the stage and became an important intention-representing and witnessing the breeding of love and hate.
At the same time, in accordance with the musical prompts written in the original work by Cao Yu, the play not only uses the pavement of the Pingtan “Chai Tou Feng” fragment, but also integrates elements of classical music and national music through it, and finally uses piano and string music. At the end, “this is a heavenly voice, and the pity of Mr. Cao Yu’s poetry.” said the two directors.
The play will be staged until October 17. (Reporter Gao Kai)
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