Author: Qiu Shuang (media person)
“Pear blossoms bloom, spring brings rain, pear blossoms fall, and spring enters the mud…” Accompanied by the beautiful melody of the theme song “Ode to Pear Blossoms”, the new version of Peking Opera “Da Tang” The Royal Concubine came to an end at the National Center for the Performing Arts.
“The Royal Concubine of the Tang Dynasty” is adapted from the famous play “Taizhen Gaiden” by Peking Opera master Mei Lanfang. Performed on Concubine Yang Gui and Li Longji. The performance incorporated opera, dance, symphony and other art forms, becoming one of the stage events of the year. The new version of “The Concubine of the Tang Dynasty” performed in Jinjing this time was re-edited and created by the Shanghai Peking Opera Theater on the basis of the original version in 2019, starring Shi Yihong and Li Jun, in order to fulfill Mr. Mei Baojiu’s last wish to inherit the play, and to Pay tribute to two generations of Mei Pai art masters.
When Yang Nailin, the composer of “The Concubine of the Tang Dynasty”, talked about the creation of that year, he summed up the characteristics of the play with “the old has the new, the new has roots”. The new version of “The Concubine of the Tang Dynasty” adheres to this creative principle. On the basis of inheriting the traditional Peking Opera, it integrates modern stage art concepts and re-polishes the plot, arias, and choreography to add more artistic charm.
Stills of the new version of Peking Opera “The Concubine of the Tang Dynasty” file photo
The new version of “The Concubine of the Tang Dynasty” highlights the main line of love between Li Longji and Concubine Yang, and has changed and added two important passages to make the development of the plot more reasonable and smooth. In the scene of “Cutting the Blue Silk”, Concubine Yang was driven back to the Yang Mansion because of jealousy with Tang Minghuang. When expressing her feelings for the moon, she should sing “The Drunken Concubine” according to the original version. Although the aria is beautiful, it does not match the mood of the characters. When people are sad, the better the memories, the better they can bring out the current frustration. The new edition follows the “Siping Tune” of “The Drunken Concubine”, but replaces it with a brand new libretto. Back then, “the neon clothes and feather clothes” are now “the clouds are scattered and the rain stops”. Inner sadness. The libretto highlights Concubine Yang’s longing for Li Longji after being demoted from the palace, increasing the emotional bond between the two and making the drama clues clearer.
In addition to “one change”, there is also “one increase”, adding a farewell scene in “Maweipo”, which makes the love between Yang Guifei and Li Longji more profound and moving. There are farewell arias in many Peking Opera works, such as “Persuading the King” in “Farewell My Concubine” and “Slim Grass” in the newly written play “Civet Cat for Prince”. These passages are indispensable for expressing the emotions of characters and promoting the development of the plot. missing part. Concubine Yang Guifei had a vigorous love and an artistic confidant. She was willing to die for the one she loved, just like the libretto in the farewell section “No one in life has died since ancient times. It is a pity that with the king, it is too late to meet each other.” , Bosom friend is hard to find”, “I hope to be buried under the pear tree, and I will also dance to the emperor in the sky”, this is Concubine Yang’s review of her short life, and it is also the final explanation of her love affair with Li Longji.
Mei school repertoire has always been characterized by “no sound, no song, no movement, no dance”. The sword dance of “Farewell My Concubine”, the silk dance of “The Heavenly Girl Scattering Flowers”, and the dance of “Xi Shi” are all classics on the opera stage. The new version of “The Concubine of the Tang Dynasty” refers to Mr. Mei Lanfang’s old performance photos, incorporates Tang dance and opera elements, and re-creates the long-lost “Cuipan Dance”, which has become a highlight of the whole play. A 1.2-meter-high circular emerald plate stood in the center of the stage, and the wall was dotted with gold inlaid jade patterns and flower petal patterns. Standing on the nine-fold high platform, Li Longji beat the drums in a clear rhythm, sometimes fast and sometimes slow, Sometimes light and sometimes heavy, Concubine Yang Guifei dances on the emerald plate to the beat of the drum, and the ornately decorated emerald plate wall also rotates slowly, creating a stage effect that is ecstatic. Under the emerald plate, the ladies of the palace held tambourines and danced Western Region-style dances to surround Concubine Yang. The magnificent Tang dance echoed the group dances of the Western Regions, vividly showing the peerless elegance of Concubine Yang and the open and inclusive prosperity of the Tang Dynasty. The tacit understanding between Li Longji and Concubine Yang, and the sympathy and sympathy between the two in their artistic pursuits, brought their hearts closer.
In the depths of the stage, the beautiful background of pear blossoms in full bloom under the darkness of night also added a lot to the “Cuipan Dance”. This is another major innovation in the new version of “The Concubine of the Tang Dynasty”, which cancels the physical architectural scenery and uses LED screens and projection technology instead. With the transformation of the story location and plot, the multimedia images also change accordingly. The majestic splendor of the palace, the poetic and picturesque charm of the Liyuan, and the misty clouds and mist of the fairyland all depict realistic scenes everywhere, making people feel as if they have traveled back to the world more than a thousand years ago. Tang Dynasty. Through the modern means of multimedia high-tech, the performance space of traditional opera is carried, presenting a dynamic and changeable effect of combining virtual and real, giving people a wonderful visual experience.
The new version of “The Concubine of the Tang Dynasty” wraps classical works with modern art, which not only retains the traditional artistic characteristics of Peking Opera, but also has the aesthetic appeal of the new era, making the classics glow with new vitality. As the leading actor Shi Yihong said: “The art of opera is fluid, not an antique in a museum. It must go with the times, and only with changes can it have vitality.”
“Guangming Daily” (version 07, April 5, 2023)
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责编：李伯玺 ]