Home Entertainment From “The Wilderness” to “Age of Awakening”, regaining the beauty of watching dramas in theaters – China Daily

From “The Wilderness” to “Age of Awakening”, regaining the beauty of watching dramas in theaters – China Daily

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Source title: From “The Wilderness” to “The Age of Awakening”, regaining the beauty of watching dramas in theaters

In the early morning of July 5, the voice of lines came from the rehearsal hall C of the Shanghai Dramatic Art Center. The actors of the “Wild Field” crew conducted their first run-in rehearsal after returning to work. This drama directed by He Nian and adapted from Cao Yu’s classic novel is scheduled to be staged at Shanghua Art Theatre from July 14th to 24th, opening the curtain for the second half of the Shanghai Drama Art Center’s performance.

At the same time, the rehearsal of the much-watched stage play “Age of Awakening” has also returned to the rehearsal hall from online, and it is planned to launch the first round of rehearsal in late August. In addition, production crews such as “Noble School”, “Every Wonderful Little Thing” and “No Survival” have also resumed offline rehearsal one after another, and work such as the elimination of the theater environment is in progress. This means that after more than three months, the audience will regain the beauty of going back to the theater to watch the drama.

From the perspective of contemporary people, the drama “The Wilderness” brings new charm to the classics

“It’s finally here”, “My happiness is back”, “I hope I can go to Shanghai to watch a play in August”… In the message area of ​​the official public account of Shanghai Dramatic Art Center, I can really feel that drama fans can’t wait to return to the theater Mood.

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“I am very confident in the recovery of the performance market. The audience’s attention and support are our biggest motivation.” Zhang Huiqing, general manager of Shanghai Drama Art Center, said that regardless of age, actor, or subject matter, “produced by Shanghua” has been To become a golden sign in the hearts of audiences in Shanghai and even the whole country, the main creator needs to use 200% enthusiasm to meet the expectations of the audience.

To this end, Shanghai Dramatic Art Center chose to use “The Wilderness” as the first play to start the performance in the second half of the year. In the pinnacle of “The Wilderness”, the drama master Cao Yu not only showed the vivid and complex characters, but also borrowed the artistic methods of Western expressionism and combined it with realism. In “The Wilderness” directed by He Nian, the director led a group of young main creators to perform, with a new concept and form, with a contemporary perspective, so that the classics radiate new charm. On the premise of not changing the core and lines of the original work, the play cuts in from the perspective of Qiu Hu, boldly adjusts the structure of the script, pays special attention to the expression of the characters’ psychology and inner emotions, and uses the “under reading” training method to stimulate the imagination of the actors , and strengthen the use of expressionist methods such as suspense, limbs, and stream of consciousness to interpret and excavate human nature. Since its premiere in 2017, the work has received rave reviews for the past five years.

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“The Age of Awakening” is not a simple condensed version of the TV series when it is on the stage

As one of the key projects of Shanghai Drama Art Center in 2022, the stage play “Age of Awakening” adapted from the TV series of the same name is also being rehearsed intensively. Written by Yu Rongjun and directed by He Nian, it focuses on the grand background of the period from the publication of “Youth Magazine” in 1915 to the period when “New Youth” became an organ of the Communist Party of China in 1921, showing the evolution from the New Culture Movement, the May Fourth Movement to China The establishment of the Communist Party is a magnificent historical picture in modern Chinese history. The art reproduces the melodious years of China‘s advanced intellectuals and enthusiastic young people who pursued the truth and burned their ideals a hundred years ago. According to the main creator, the stage play version is not a simple condensed version of the TV series, but will be more re-creation and excavation of the original story, presenting a more stage performance to the audience in the theater.

In the “2022 drama you most look forward to seeing on the stage of the talk” questionnaire, “Awakening Age” once topped the list with 35% of the votes. The reporter learned that in order to live up to this expectation, the online rehearsal of the stage play “Age of Awakening” did not stop in the days when the theater was not open, and nearly ten script reading sessions were organized. When they walked into the rehearsal room for the first time after resuming offline rehearsal, the creators were polishing a dialogue between female characters. In order to conform to the characters, the background of the times and the prescribed situation, such discussions are often precise to every word in the dialogue.

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From July 15th, the annual national tour of Shanghai Drama Art Center will also start one after another: “No One Survives”, “Dream of Red Mansions”, “Maze of Heart”, “Abyss”, “I Don’t Want to Be Friends with You”, “Accidental Visitor”, “12 People” ” and other repertoires will bring high-quality, creative and diverse Shanghai dramas to audiences in more than 10 cities including Nanjing, Ningbo, Changsha, Shenzhen, Zhuhai, Wuxi, Tianjin, Suzhou, Hangzhou, Wuxi, Xi’an, Wuhan, Haikou, and Zhengzhou. Repertory produced by the Arts Center.

In order to pay tribute to the volunteers in this round of epidemic, from now until December 31, anyone who presents their Shanghai New Coronary Pneumonia Epidemic Prevention and Control Volunteer Service Certificate or “Volunteer Anti-epidemic Thank You” Volunteer Service Commemorative Certificate to purchase Audiences of plays produced by Shanghai Dramatic Art Center can enjoy a 15% discount on the purchase of up to four tickets for each play.

[Editor in charge: Xu Ziming]

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