Home » Exclusive Interview | Ayunga: Musicals made me _ audience _ program _ Philharmonic

Exclusive Interview | Ayunga: Musicals made me _ audience _ program _ Philharmonic

by admin
Exclusive Interview | Ayunga: Musicals made me _ audience _ program _ Philharmonic

This year, the musical “The Count of Monte Cristo”, produced by him, is about to meet the audience. He is both excited and nervous, but we have reason to believe that a producer who respects the market and the audience will do the same with his works. .

At around 8 pm on July 6th, the recording of the finals of Dragon TV’s “City of Philharmonic” ended, and the busy work came to an end. Ayunga was a little tired, but his eyes were still clear.

Among the several helpers in the Philharmonic City, Ayunga has the deepest understanding of musicals – he is familiar with every program on the stage, and he is familiar with every contestant. Partner cooperation. Therefore, when the players get less than ideal results, Ayunga is often the first to complain, and he does not hesitate to praise him. He is so distressed. “The palms of the hands and the backs of the hands are full of meat”, which are all Chinese musicals. talent.

In addition to the show, he opened a small class for the musical “Ayunga’s Heart of Philharmonic” on his Weibo, introducing to the audience a number of excellent musicals at home and abroad, such as “The Piano of Steel” and “Almost Almost”. Normal”, “Rock Mozart”, etc.

Since “Sound into the Heart” entered the public eye, musicals have always been Ayunga’s original intention. In recent years, Ayunga has successively presented classic works such as “In the Distance” and “Romeo and Juliet” to the audience, and has gained a lot. It is well received. On the stage of musicals, Ayunga can always exude the most shining light.

He also began to try his hand as a producer of musicals. “Musical drama is like a person. Ta has his own ideas, his own character, and his own emotions. These need to be run in with it little by little.” This is the personal experience he got after serving as a producer. How to do it? Grind. As soon as there is a good inspiration, he always records it as soon as possible, and he will listen carefully to everyone’s opinions and polish the plot over and over again, striving for perfection.

At the beginning of 2022, Ayunga became the head of the first state-owned musical troupe, the Beijing Opera and Dance Theatre Musical Troupe, and began to produce the Chinese version of the musical “The Count of Monte Cristo”. It is reported that this version will be produced by the Russian version behind the scenes. Created together by a large group of people and a world-class top team, the classic story of love and revenge told in it is still talked about by people.

In addition to musicals, Ayunga also has dazzling performances in the fields of drama, film and other arts. Will it feel hard? Facing the reporter’s question, Ayunga shook his head, “Those who are capable do more work,” he said, but he quickly rejected the adjective because he felt happy doing these things: “It’s all things that I love. , do more while you’re young.”

As a star actor of the current Chinese musical, Ayunga does not have the so-called “star air”. In the dialogue with “Xinmin Weekly”, his sincerity and patience left a deep impression on the people present. He said that the development of an industry is not a matter of one or two people. “An industry is good because of the persistence of a group of people. Those who did not participate in TV programs, silently paid on the stage, and won applause and audiences with performances one after another. The actors, they’re amazing and the backbone of the industry.”

Willing to be a medium for musicals and audiences

“Xinmin Weekly”:What was the opportunity to become attached to “The City of Philharmonic”?

Ayunga:With such a groundbreaking variety show, I especially wanted to be a part of it. A week before the recording, I received an invitation from the program team to participate, and I was very excited. Although the preparation time is very short, I think TV shows are a very rare opportunity for the musical theater industry, and I must come.

See also  the historic interview - Corriere TV

I want more people to see the people behind the stage who are shining for the musical. I am very familiar with them and can be a medium that can get closer to the public most quickly.

“Xinmin Weekly”:Some viewers joke that you are “Master Duan Shui” in the show?

Ayunga:The palms of the hands and the backs of the hands are full of meat. Which one do you think is bad and which one is good? Besides, the musical actors who come to our “City of Philharmonic” all have their own advantages and charms. You can’t use a fixed standard to evaluate. We are a process of absorbing nutrients from each other.

“Xinmin Weekly”:What nutrients have you absorbed?

Ayunga:As far as I am concerned, I saw the possibility of creating an original Chinese musical in the program.

Because Chinese musicals are developing, we have been exploring and experimenting, which is very interesting, and the collision of various sparks of the program team, especially the cooperation with some cross-border pop musicians in the second half, is on stage. Some good IP and movie excerpts presented are like planting a seed for the new musical model in the future. As for whether this seed will bloom or grow into a towering tree in the future, it depends on what we do in the future.

But I think planting the seeds is a very meaningful thing.

“Xinmin Weekly”:In the show, which stage did you most remember? Why? Can you recommend a few good musicals to the general audience?

Ayunga:It is actually very difficult to present a musical on TV. You have to film the relationship between the characters and the atmosphere of the scene, so that ordinary audiences can feel the charm of the actors, the charm of the music… to some extent The program team is also crossing the river by feeling the stones.

For classic plays, although I personally love them, for ordinary audiences, these classic plays may make them feel a little distant due to regional and cultural differences. So at the beginning, works like “In the Distance” were widely praised by ordinary audiences, because such characters, such stories, were very close to us, as if they were happening around us.

As for the musicals I want to recommend, there are too many. You can search for musicals on a certain station, and there will be many surprises for you there. Like French dramas, most of them are based on songs. The songs are good and the dramas are very romantic, such as “Romeo and Juliet”, “Rock and Roll Mozart”, “Rock and Roll Red and Black” and so on.

American Broadway musicals, German musicals… If you want to know about it, you can watch it. What’s more, you can click “The City of Philharmonic” to see the charm of China’s outstanding musical actors.

The musical industry is not a matter of one or two people

“Xinmin Weekly”:Some time ago, you became the head of China’s first state-owned musical troupe. What does this new status mean to you? What work are you currently doing?

Ayunga:This is a job, but also a responsibility and responsibility. I think the most important thing in this job is to serve well. Our troupe is called the musical troupe. We serve musical theatre and musical theatre talents – how can we attract more musical theatre talents and musical theatre producers, and jointly create a musical theatre work that belongs to China here. is our most important purpose.

In fact, before the establishment of the musical troupe, we did “In the Distance”. I personally think this musical is not bad. I can’t say how good it is, but I think it is a conscience drama. (“In the Distance”) was also an opportunity for us to set up a musical theatre company. This year, we also have a blockbuster work “The Count of Monte Cristo”, and I will also participate in it. At present, I am mainly doing a lot of work around this drama.

See also  Tickets for the FA Cup Quarterfinals are open to spectators-Sports-中工网

“Xinmin Weekly”:In your opinion, what are the criteria for evaluating the quality of musicals? How do we make a good musical?

Ayunga:The first is that the audience thinks it looks good.

Of course, musicals are very complex. It is not a genre, but a fusion of multiple genres. It is very open and inclusive. Tolerance is a good thing, but he also has a stubborn temper, and it takes time and energy to keep grinding. For example, when we want to make a drama, you put everything in it, and when it’s finished, everything goes wrong when it’s staged, it’s going to be angry. Musicals are very temperamental. If you want me to use an analogy, if it is like a person, this person can absorb everything, but it has a personality. You have to get used to it bit by bit, and you have to understand its habits. , in order to play a beautiful set of punches at the end.

Therefore, a good musical is always polished over and over again.

“Xinmin Weekly”:In the past two years, you have been active on the stage of musicals, and you have also performed cross-border plays and movies. Usually, you are also invited to participate in many evening parties and variety shows. Do you find it hard to switch between different identities with a tight schedule?

Ayunga:I’m happy doing these things because I’m doing what I love, and I can embody my own worth, and that’s one of the meanings of my life.

Everyone’s goals are different, so the choices are also different. Because of love, I am willing to pour everything I have and do more while I am young. Of course, I will still devote most of my energy and stand on the stage I love, there is no doubt about that.

“Xinmin Weekly”:In the current musical theater market, actors are divided into AB roles, and the actor schedule is also essential for audiences to choose to watch dramas. What do you think of this phenomenon?

Ayunga:I think it’s possible to change the inherent model. Don’t think that the actor in A is very good, and the actor in B is not very good in C and D? No, they all serve the audience and the stage. They can’t be divided into who is higher and who is lower. He is not important in the whole play. If the play is good, the audience will look more at the stage character itself than at who plays it.

Maybe now we have to rely on actors to sell tickets. It is a transition and an inevitable way to go, but in the end it is the drama itself that attracts the audience.

The success of an industry is not a matter of one or two people. The success of an industry is due to the persistence of this group of people and the fact that there are many characters in this group. This is very important. Those actors who have not participated in variety shows, who are unknown on stage, and who have won applause and audiences one after another, they are amazing, and they are the backbone of our entire industry.

This is one of my insights over the past few years, because sometimes people will say that because you participated in variety shows, you brought a musical or something, but it’s not. The musical made me, and I wanted to do something about it.

Interview postscript

About six or seven years ago, domestic original musicals were not very attractive to the audience. Many times the theater was filled with less than half of the people, and the situation that there were more actors than the audience in the audience occasionally happened. At that time, the musical drama market was still dominated by the introduction of dramas, until the emergence of star actors like Ayunga, which effectively boosted the box office of the musical drama market.

See also  Stride forward along the road of high-quality development——Looking at China's economic development from the perspective of the National Two Sessions

After the outbreak of the epidemic, musicals ushered in a second period of rapid development. After it was difficult for foreign plays to enter the domestic performance market, domestic musical production companies seized the opportunity and launched many musical works that audiences loved. Under the search for performances, you will find that there are various forms of musicals, the stage can be large or small, and their market performance is very good.

However, behind the bustling market, there is still a certain disconnect between the creation of original musicals, the professional quality of musical actors and the audience’s aesthetic needs. There are many excellent works that have been continuously polished and refined in rounds of performances, but there are also many shoddy works in the market that are eager to launch. Generally speaking, the production mechanism of domestic original musicals is still at a relatively basic level. stage.

The musical theater industry needs talents and expects talents to join in. “The City of Philharmonic” also came into being under this background. As Shi Jianing, deputy director of Dragon TV and chief producer of “The City of Philharmonic”, said: “The short-term goal is to let the audience know these treasured musical actors in the shortest possible time, and to drive the offline musicals’ market and box office; medium-term goal It is to let more talents join the industry and form a collective effect; the long-term goal is to promote the development of the industry and make Shanghai the ‘Broadway of the East’.”

As a representative of the prosperous period of the musical theater market, Ayunga undoubtedly has a deeper understanding of this. He told reporters that the development of an industry does not depend on one or two people, but because of the persistence of a group of people. A line, a single tree does not make a forest.” Only by bringing together a group of talents into the field of musical theatre can the market become larger.

Ayunga himself is also working hard in this direction, from an actor standing in the center of the stage of a musical, to now he has made many crossovers, and he is also trying to be a producer of musicals. In Europe and the United States, a large number of works are widely circulated behind every top producer. These works and producers constitute the history of the development of musicals. Ayunga is also fully aware of the importance of this work. A musical is likened to a clock, and the producer is the one who is responsible for purchasing high-quality parts and selecting the right craftsmen to assemble.” He is the soul of a musical’s success or failure.

From the beginning of “In the Distance”, he has consciously accumulated himself. In his own words, “Learn more while you are young, and do more.” An important factor in the quality of the play. This year, the musical “The Count of Monte Cristo”, produced by him, is about to meet the audience. He is both excited and nervous, but we have reason to believe that a producer who respects the market and the audience will do the same with his works. .

| The video of the exclusive interview will be posted on Sina Weibo and Station B “Xiao Zhou Tan Class”. Welcome to pay attention!

Exclusive Interview | Liao Changyong: “The City of Philharmonic” makes me look forward to Chinese musicals

Chinese innovation on the genetic testing track

Without saying goodbye, Yuzuru Hanyu switched to professional figure skating after retiring

Copyright statement

All platform manuscripts of Xinmin Weekly shall not be reproduced, published, adapted, or carried out in other acts related to the copyright of Xinmin Weekly without official authorization. Violators will be prosecuted!Return to Sohu, see more

You may also like

Leave a Comment

This site uses Akismet to reduce spam. Learn how your comment data is processed.

This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Accept Read More

Privacy & Cookies Policy