This year, the musical āThe Count of Monte Cristoā, 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 TVās āCity of Philharmonicā 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 ā 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. āThe palms of the hands and the backs of the hands are full of meatā, which are all Chinese musicals. talent.
In addition to the show, he opened a small class for the musical āAyungaās Heart of Philharmonicā on his Weibo, introducing to the audience a number of excellent musicals at home and abroad, such as āThe Piano of Steelā and āAlmost Almostā. Normalā, āRock Mozartā, etc.
Since āSound into the Heartā entered the public eye, musicals have always been Ayungaās original intention. In recent years, Ayunga has successively presented classic works such as āIn the Distanceā and āRomeo and Julietā 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. āMusical 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.ā 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 everyoneās 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 āThe Count of Monte Cristoā. 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 reporterās question, Ayunga shook his head, āThose who are capable do more work,ā he said, but he quickly rejected the adjective because he felt happy doing these things: āItās all things that I love. , do more while youāre young.ā
As a star actor of the current Chinese musical, Ayunga does not have the so-called āstar airā. In the dialogue with āXinmin Weeklyā, 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. āAn 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, theyāre amazing and the backbone of the industry.ā
Willing to be a medium for musicals and audiences
āXinmin Weeklyā:What was the opportunity to become attached to āThe City of Philharmonicā?
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.
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.
āXinmin Weeklyā:Some viewers joke that you are āMaster Duan Shuiā 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 āCity of Philharmonicā all have their own advantages and charms. You canāt use a fixed standard to evaluate. We are a process of absorbing nutrients from each other.
āXinmin Weeklyā: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.
āXinmin Weeklyā: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 musicā¦ 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 āIn the Distanceā 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 āRomeo and Julietā, āRock and Roll Mozartā, āRock and Roll Red and Blackā and so on.
American Broadway musicals, German musicalsā¦ If you want to know about it, you can watch it. Whatās more, you can click āThe City of Philharmonicā to see the charm of Chinaās outstanding musical actors.
The musical industry is not a matter of one or two people
āXinmin Weeklyā:Some time ago, you became the head of Chinaās 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 ā 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 āIn the Distanceā. I personally think this musical is not bad. I canāt say how good it is, but I think it is a conscience drama. (āIn the Distanceā) was also an opportunity for us to set up a musical theatre company. This year, we also have a blockbuster work āThe Count of Monte Cristoā, and I will also participate in it. At present, I am mainly doing a lot of work around this drama.
āXinmin Weeklyā: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 itās finished, everything goes wrong when itās staged, itās 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.
āXinmin Weeklyā: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:Iām happy doing these things because Iām doing what I love, and I can embody my own worth, and thatās one of the meanings of my life.
Everyoneās 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.
āXinmin Weeklyā: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 itās possible to change the inherent model. Donāt 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 canāt 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 itās 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.
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 audienceās 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. āThe City of Philharmonicā also came into being under this background. As Shi Jianing, deputy director of Dragon TV and chief producer of āThe City of Philharmonicā, said: āThe short-term goal is to let the audience know these treasured musical actors in the shortest possible time, and to drive the offline musicalsā 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 āBroadway of the Eastā.ā
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.ā 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.ā He is the soul of a musicalās success or failure.
From the beginning of āIn the Distanceā, he has consciously accumulated himself. In his own words, āLearn more while you are young, and do more.ā An important factor in the quality of the play. This year, the musical āThe Count of Monte Cristoā, 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 āXiao Zhou Tan Classā. Welcome to pay attention!
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