Home Entertainment Chen Peisi came to Hangzhou with “A Dream” for four consecutive days. This is a play that bumps with the audience-Hangzhou News Center-Hangzhou Net

Chen Peisi came to Hangzhou with “A Dream” for four consecutive days. This is a play that bumps with the audience-Hangzhou News Center-Hangzhou Net

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Chen Peisi came to Hangzhou with “A Dream” for four consecutive days. This is a play that bumps with the audience-Hangzhou News Center-Hangzhou Net

Chen Peisi brought “A Dream” to Hangzhou for four consecutive days. This is a bumpy play with the audience.

Chen Peisi appeared at the media meeting of the drama “A Dream”.Photo by reporter Chen Zhongqiu

Standing on the 28th floor of the Jianghehui Hotel, Chen Dayu took a picture of the Shangcheng Sports Center downstairs with his mobile phone, “planning” whether to wait and play a game.

His father Chen Peisi stood by the window and began to compare the new changes every time he visited Hangzhou. He pointed to the construction worker next to him and said, “The last time I came, it seemed like a hole.”

The Pengbu Bridge (Qianjiang Second Bridge) within Chen Peisi’s line of sight just opened to traffic last month. At the end of 2019, in the same position, Chen Peisi was still thinking, “There are more boats on the Qiantang River”.

After finishing the performance in Shanghai, yesterday afternoon, Chen Peisi went to Hangzhou with actors Liu Tianchi, Liu Chen, Liu Yong, Lang Ling and others from the crew of “A Dream”. From today to the 9th, Chen Peisi’s “Frightening Dream”, which has been brewing for many years, will be performed at the Hangzhou Grand Theater for four consecutive days.

On the Xiaoguo talk show at the Hangzhou Grand Theater the night before, an actor said that after performing the talk show, he would stay in Hangzhou for a few days, waiting to watch Chen Peisi’s play on the 8th.

And many Hangzhou audiences have also experienced many twists and turns in order to watch this play. These audiences did not buy tickets for the Hangzhou show last year, so they bought the Shaoxing show instead. As a result, due to the outbreak of the epidemic in Shangyu, the Shaoxing show was finally cancelled. .

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The two-year tour can be said to be in contrast to the bumpy Kunqu Opera team in “A Dream”.

“Our audience also bumped along with this play. They can get together for a while, but they have to cancel it for a while. Many audience tickets have been bought and refunded, and we have been happy and lost together with the audience. This is a very special experience.”

The just-concluded Shanghai show was also on the second tour, but Chen Peisi on stage clearly felt that the audience had changed. “The audience became very deep in the first half. It was not so easy to laugh. We were all nervous. Fortunately, in the second half, everyone was still infected. At the end of the cheers, we were relieved.”

As the second part of the “Stage Trilogy”, “Frightening Dream” depicts the background of that turbulent era with the absurd encounter of a stage crew in the square-inch stage.

The script is solid, the skills are harmonious, the performance is excellent, the small sees the big, and the skill is profound – since the premiere, I have always recommended everyone to watch “A Dream”: this is a big play with no shortcomings.

As the executive director, Chen Dayu said that after the first round of performances, “there are a lot of adjustments. We are learning and improving while doing.” What the Hangzhou audience is about to see will be a more compact version of “A Dream”.

Chen Peisi also said that this round of adjustments stemmed from the audience’s reaction: “The interpretation of the drama depends on the audience. There are many lines that we feel are very weak, but the audience responds greatly, and the comedy effect received is unexpected.”

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Chen Peisi’s positioning of “A Dream” is a play created by “abandoning the methods of past comedy”, “This play is different from “The Balcony” and “The Stage” in that we do not rely on the past methods, and the methods have completely changed “.

This creative process, Chen Pei said, “gained greater joy” because “the way we create laughter is different from others.”

Laughing with tears, crying and laughing, is the first time many viewers feel when watching “A Dream”. Among them, a glimpse of the Kunqu Opera “Peony Pavilion” is one of the charms of this play.

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