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How to make a great Peking opera “fine”-Entertainment Daguan-Market Information Network

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How to make a great Peking opera into a “fine”

——Re-arrangement scene of “Da Mo Su Wu”, a traditional masterpiece of “One Hundred Years and One Hundred Years”

Market Information Network 2021-11-02 14:40:02 Source: People’s Daily Online Comment:

Original title: How to make a great Peking opera “fine”

The newly-written historical drama “Da Mo Su Wu” by the National Peking Opera Company was selected as the key supporting work of the “Hundred Years” traditional boutique re-arrangement plan this year. A few days ago, the main creative team continued to carry out intensive rehearsals. The reporter walked into the rehearsal hall of the National Peking Opera Theatre, explored the meticulously crafted links of “Da Mo Su Wu”, witnessed how a great Peking opera was refined in and out of the play, and experienced the charm behind the scenes of Peking Opera at close range.

Ten Years of Grinding

From the first performance of “Da Mo Su Wu” to this year’s re-arrangement, it is exactly the tenth anniversary. There were ten years of sharpening a sword in ancient times, and ten years of sharpening a scene now. This rehearsal and reenactment amazed both new and old audiences.

“Not to mention that in the early stage of creation, the screenwriter and director Gao Mukun has spent six years of incubation, creation, and repeated revisions. In the ten years since the successful performance alone, there have been countless discussions and polishing around the play. “Desert Su Wu” Su Wu actor, Peking Opera Xi faction leader Zhang Jianguo compared the feelings of the first performance and this re-enactment, and bluntly said that the main creators have more obvious understanding of the role and plot, the tension and maturity of the performance. promote. He pointed out that everyone is growing up with the drama. This is particularly evident in the young actor Guo Xiao, who is played by Hu Ayun. Picking the main beam again will make people look at it with admiration.”

During the rehearsal, when the “Unbearable Looking Back” sings were reached, the delicate expressions of Zhang Jianguo and Guo Xiao really made the reporter’s eyes shine and hit the soul.

Originally it was a casual chat between the two. Hu Ayun talked about the legendary experiences of Su Wu that he heard from his father when he was a child that he would rather die than surrender, “don’t die for a few days without water and food”. He smiled and said, “It’s okay to say nothing”, Hu Ayun continued begging him to speak with “No, I want to listen.” In this short interval, the reporter noticed that Zhang Jianguo (Su Wu)’s eyes were red. Layers of progressive emotions can almost instantly grasp the viewer’s heart, and people will enter the drama after a glance, unable to extricate themselves. And his opponent Guo Xiao (Hu Ayun) also followed his unbearable past, such as “grassroots and tree bark filling”, with joy and sorrow, with moist eyes. These details are usually overlooked or not easily noticed by the audience. Even in the rehearsal, they also strive to achieve the ultimate. “Entering the show is not only a stylized handkerchief wiping tears, but also a natural expression of affection. It is the basic requirement of singing with heart and affection, and it is also the place where Guo Xiao and many young actors have continued to make breakthroughs and progress in recent years. “Zhang Jianguo said.

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Details determine success or failure

During the rehearsal, many moments were impressive. The so-called details determine success or failure, perhaps some seemingly ordinary rehearsal pictures are precisely the secret of this team’s grind the big play into a boutique.

In the rehearsal hall, 76-year-old Gao Mukun, a Peking opera artist, sits on a stool and a class table facing the rehearsal venue. During the rehearsal, he stared at the actors intently, sometimes with the corners of his mouth raised, sometimes with a solemn expression, and from time to time he wrote and painted on small cards. The reporter noticed that Gao Mukun seemed extremely busy every time he changed the venue or paused. Sometimes the actor voluntarily ran over, bent down or squatted on the ground, compared to painting and asking questions, he also drew in response and talked about drama; sometimes he waved his hand and called an actor to his side to give a few words, and the actor went to the side. Fine-tune the movements, chanting words.

In fact, it’s not just Gao Mukun. The band teachers will also interact a lot with the actors during a short pause. “Adjust the rhythm a bit” and the actors immediately understand, “Okay, I’m slow, am I? Do it again”.

During the rehearsal, an episode caught the reporter’s attention. When the actor sang, Gao Mukun suddenly shouted “stop, stop,” and started filming the crime. He turned to the back and said: “This situation is absolutely not allowed. Every post must be dedicated and rigorous.” Afterwards, the reporter asked about Gao Mukun. He apparently threw it behind his head. After the person next to him reminded him, he remembered that it was because the actor’s microphone was silent for a short time. Flaws are the responsibility of the director. If there is a problem during rehearsal, you don’t remind you. If there is a problem in the official performance, it will be a stage accident.” Speaking of this, Gao Mukun did not forget to “self-review”: “I have a bad temper, and I am easy to be anxious when seeing bad things. I have to say it, and sometimes offend people.” The young actor next to him told reporters. “Mr. Gao is anxious for the inheritance and development of opera. He is not doing the right thing to people. He hopes that the national quintessence will become better and better through the efforts of generations of opera workers.”

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Tears Rehearsal Field

In 2021, famous Peking opera artists such as Du Jinfang, Liu Xiurong, Zhu Bingqian and others have passed away one after another, which made Gao Mukun deeply moved. “There are fewer and fewer people in the old generation of Peking opera, and some classics have almost become swan songs. Peking opera inheritance will inevitably face some difficulties.” He said, “We old comrades must not only stand well and make use of the remaining heat, but also innovate for the integrity of opera. Make a contribution.”

Gao Mukun said frankly that the creation of “The Desert Su Wu”, on the one hand, is to avoid the attempt to dramatize Peking Opera, to present the advantages of the opera itself through his own creation, to express the true emotions of the characters through singing, beating, hands, eyes and body, and to show the plot in the play. The humanism expounded is “the opera is virtual, freehand, and aesthetic.” On the other hand, it also avoids completely following the old path. Although the play inherits from the Ma school “Su Wu Shepherd”, it has different theme and singing. There are brand-new expressions in line with the current context. It is a new drama tailored for actors such as Zhang Jianguo and Guo Xiao.

Before visiting the class, I heard that the old man Gao Mukun burst into tears in the rehearsal field many times. On the day of the visit, after witnessing his movement, I thought he was moving along with the plot and was infected and moved by the actor’s performance, but the answer is not that simple. “As a director, I have watched it ten and a hundred times, and every time I watch it, I will be moved. But my tears are not so much for the plot, but for the actors, bands, and all the people behind the scenes. Workers flow.” Gao Mukun said. It is his greatest excitement that the big drama can be passed on and the drama has been passed down.

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After the rehearsal that day, Gao Mukun couldn’t hide his excitement. During the exchanges with young actors, he deeply shared the experience of creating the show ten years ago. After ten years of trials, “Da Mo Su Wu” is still recognized and welcomed by the audience, which makes him feel gratified and proud. The younger generation presented the whole drama so complete and in place in a short period of time, which made him even more delighted. He encouraged young actors to deeply understand and learn from Su Wu’s hardships, without changing his integrity, and always keep the spirit of the country and the nation in mind, strengthen the sense of mission, don’t be discouraged when encountering difficulties, and make his due contribution to the inheritance of opera.

In the rehearsal arena, around a big play, various opera businesses, old, middle-aged and youthful actors, bands, stereos, props, costumes and other types of work each perform their duties and work together to perfectly present the boutique drama on the stage. , The craftsman’s craftsmanship is carried out day after day.

(Reporter Liu Pingan)

Editor in charge: gaoxuejing Liu Yuan

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