After 12 years of hard work, the “Peking Opera Film Project” released 21 excellent works——
Presenting the colorful scenery of Peking Opera
Figure ①: Stills of the Peking Opera movie “Red Mansion Eryou”.
Figure ②: Stills of the Peking Opera movie “Wen Ji Returns to Han”.
Figure ③: Stills of the Peking Opera movie “The Meeting of Heroes Borrowing the East Wind”.
Figure ④: Stills of the Peking Opera movie “Siro Visits His Mother”.
Figures ① to ④ are all provided by the leading group of “Peking Opera Film Project”
Layout Design: Zhang Fangman
core reading
The 21 films included in the “Peking Opera Film Project” involve more than 65% of the existing genres. Select the most suitable talents for the performance from 18 Peking Opera troupes.
In order to form an appropriate visual language system, effectively transform the original work into a film, and complete the transition from stage art to film audio-visual art, the filming team, according to the characteristics and needs of each play, used innovation as a guide, supported by technology, and used Aesthetic support, and strive to achieve exquisite Peking Opera inheritance and modern film creation.
Not long ago, four Peking Opera films, “Siro Visits His Mother”, “Er You in the Red Chamber”, “The Meeting of Heroes Borrowing the East Wind” and “Wen Ji Returns to Han” were grandly launched at the 13th Beijing International Film Festival. After 12 years of unremitting efforts, the “Peking Opera Film Project” has finally completed two batches of 21 representative and demonstrative works, entering the final stage. These films with clear cultural recognition have attracted widespread attention.
Opera and film have an indissoluble bond. China’s first film “Dingjun Mountain” preserves and spreads Peking Opera culture through film art. The two classic arts show strong vitality in their fusion and complementarity. The “Peking Opera Film Project” adheres to the creative transformation and innovative development of excellent traditional Chinese culture. From the vast traditional repertoire and the excellent works accumulated over the years, we select major dramas that are representative of the genre and artistic, and can reflect the strength of contemporary Peking Opera artists. , and after careful processing of desk scripts, repeated polishing on the rehearsal field, and careful filming in the film studio, a batch of films that can be widely disseminated and permanently preserved have been produced.
Contemporary dissemination and inheritance of national quintessence classics
This is a lofty and arduous historical task, and it is also an important measure to vigorously promote traditional culture and enhance cultural self-confidence. The “Peking Opera Film Project” is personally initiated and promoted by the leading comrades of the central government, with the participation and full cooperation of relevant state ministries and commissions. The unswerving determination of the advocates and the hard work of the artists are the fundamental guarantee for the smooth development of the “Peking Opera Film Project”.
The repertoire of Peking Opera is vast. There are more than 200 bone dramas based on “The Romance of the Three Kingdoms” alone, which shows the high proportion and importance of the Three Kingdoms dramas in the Peking Opera repertoire. Peking Opera has a complete lineup, is good at both singing and martial arts, and has a variety of forms. “The Meeting of Heroes Borrowing the East Wind” is one of them that has been tempered. In the 1950s, the stage art film of this drama starring Ma Lianliang, Ye Shenglan, Tan Fuying, Yuan Shihai, Qiu Shengrong, Xiao Changhua, etc., can be called the “Heroes’ Meeting” of Peking Opera at that time. Precious historical data. The re-shooting of the new version of “The Meeting of Heroes Borrowing the East Wind” features representative artists such as Ye Shaolan, Shang Changrong, Zhu Qiang, Meng Guanglu, Zhang Jianguo, Kou Chunhua, Ye Jinyuan, etc., using more advanced film tools and technological means to show Contemporary Peking Opera performers inherit the artistic height of the national quintessence and the spiritual outlook of keeping integrity and innovation.
“Farewell My Concubine” is a representative work of Mei Lanfang’s first performance in 1922, and “Xiao He Chasing Han Xin under the Moon” is a family drama of Qi School edited and performed by Zhou Xinfang. Both of them are art treasures that have been performed for a long time. “Xie Yaohuan”, “Mu Guiying in Command”, “The Orphan of the Zhao Family”, “Manjianghong” and “Jiujiangkou” edited and performed after the founding of New China also have a vigorous style and profound connotation, plus Mei Lanfang, Ma Lianliang, Zhang Junqiu, Li Shaochun , Du Jinfang and Yuan Shihai are famous for their excellent acting skills in singing, reciting and fighting. “Qin Xianglian”, “The Number One Scholar”, “Kan Yuchuan”, “The Mirror of Fortune and Longevity” and other audience-favorite story dramas are popular for their strong folk color, life interest, or delicate and profound human nature. The “Peking Opera Film Project” selects these repertoires with solid foundations to shoot films, striving to achieve better and more refined effects in the classic contemporary dissemination and future generations inheritance.
The colorful, broad and profound art of Peking Opera
Peking Opera is a performing art with rich colors and many genres. The 21 films included in the “Peking Opera Film Project” have a variety of genres and a variety of flowers, which more comprehensively reflect the variety, breadth and profoundness of Peking Opera art. From Laosheng’s Tan School, Yu School, Ma School, Qi School, Yang School, Yan School, Xi School, Gao School, to Danxing’s Mei School, Cheng School, Shang School, Xun School, Zhang School, Du (Jin Fang ) faction, Guan (Sushuang) faction, then to Jingxing’s Qiu faction, Yuan faction, Hou faction, Xiaosheng’s Ye faction and Yu faction, Wusheng’s Yang (Xiaolou) faction, Li (Shaochun) faction, Laodan’s The old Li (Duokui) faction, the new Li (Jinquan) faction, the ugly Xiao (Changhua) faction…the schools involved exceed 65% of the existing schools.
The new edition of “The Gathering of Heroes Borrowing the East Wind” is composed of young students from the Ye school, old students from the Ma school, copper hammer from the Qiu school, old students from the Xi school, martial arts students from the Yang school, square scarves from the Xiao school, and a self-contained shelf known as “the current living Cao Cao” Face painting on one set, as far as possible to meet the appreciation preferences of various audiences.
“Wen Ji Returns to Han” is a big play written by Jin Zhongsun and Cheng Yanqiu in 1926. Although there are historical books and “Romance of the Three Kingdoms” novels as the basis, as well as Yuan and Ming dramas for reference, its drama structure, lyrics and music are completely new creations. Once the play was staged, it was sought after by a large number of fans because of the complex characters’ hearts and the sad and melodious singing. In the next few decades, the disciples of the Cheng School successively learned acting, and the famous Cheng School Li Shiji revised and processed the script, forming a grand occasion of simultaneous circulation of multiple versions, and it became a must-perform repertoire of the Cheng School Qingyi. Bringing such a poignant, touching, euphemistic and profound typical Cheng Pai Tsing Yi drama to the film is enough to win the favor of “Cheng fans”.
Another released “Red Chamber Eryou” was tailor-made for Xun Huisheng by Chen Moxiang in 1932 based on relevant chapters of “A Dream of Red Mansions”, and was listed as one of the six major tragedies of the Xun School. Playing the role of the third sister in the front and the second sister in the back, Xun Huisheng played the role of Huadan and Guimendan respectively, fully demonstrating his strength and charm beyond his profession. In the 1960s, Xun Huisheng taught the play to the 16-year-old rising star Liu Changyu. Since then, Liu Changyu has sorted out and revised the script many times in frequent performance practice, which has been widely praised inside and outside the industry, and won the praise of “the young phoenix is as clear as the old phoenix”. Due to historical reasons, Xun Huisheng never showed his grace on the screen in his life. The filming of this drama this time made up for the regret that there was no video for this famous Xunpai drama.
The integration and innovation of opera and film
While disseminating classic art, the “Peking Opera Film Project” has also forged a professional team of experienced, competent, enthusiastic, and pursuing Peking Opera filmmakers, which will have a profound impact on the subsequent development of the opera film industry. positive effects.
The shooting of Peking Opera films is not only an inheritance and relay of Peking Opera art, but also witnesses the integration and innovation of Chinese opera culture and film culture. A large number of capable, experienced, high-level, and high-quality artistic talents can achieve the goal of permanent retention only if they devote themselves wholeheartedly, learn from each other’s strengths, and work together.
Mobilize elite soldiers and generals to form a powerful performance team. Taking the most powerful Beijing, Tianjin and Shanghai as the main shooting base, breaking the restrictions between groups and places, and selecting the most suitable talents for performances from all over the world. According to statistics, the actors and performers involved in the 21 films are widely distributed in 18 Peking Opera troupes. The martial arts “Havoc in Heaven” recruited more than 30 performers from 14 Peking Opera troupes and colleges, and was completed by 4 Monkey King performers from Fujian Peking Opera Theater, Beijing Peking Opera Theater, and Central Academy of Drama. “Xie Yaohuan” is jointly performed by actors from the National Peking Opera Theater, Shanghai Peking Opera Theater, Tianjin Peking Opera Theater, Beijing Peking Opera Theater and other troupes. “Silang Visits His Mother” and “Red Mansion Eryou” also fully embodies the strong alliance.
A group of vigorous and powerful young top-notch talents have emerged, leaving youthful and beautiful demeanor and extraordinary talents on the screen. Yang Yanhui played by Zhang Jianfeng, Li Bo, and Yang Shaopeng, Princess Iron Mirror played by Dou Xiaoxuan, Guo Xiao, and Lu Yang, and Third Sister You played by Luo Rongzheng are all eye-catching.
28 performing artists, playwrights, musicians, drama theorists, and film directors are specially hired to form an art direction group, who will devote themselves to the whole process from repertoire selection to script revision, performance evaluation, and film review and argumentation. A group of directors, photographers, recorders, artists, and producers who are well versed in the laws of film, understand Peking Opera, and have excellent skills have formed various film crews to study, practice, and improve.
In order to form an appropriate visual language system, effectively transform the original work into a film, and complete the transition from stage art to film audio-visual art, the filming team, according to the characteristics and needs of each play, used innovation as a guide, supported by technology, and used Underpinning the aesthetics, strive to achieve the exquisite inheritance of Peking Opera and the modernization of film creation, so as to win the recognition of contemporary and even future audiences. “Siro Visits His Mother” boldly uses virtual shooting technology, striving to achieve poetic effects that could not be achieved by “scenery” in the past. “Havoc in Heaven” makes extensive use of computer animation and film special effects to create an unpredictable mythological atmosphere. “Farewell My Concubine”, “Xiao Heyue Chasing Han Xin” and “Zhenguan Grand Event” adopt 3D/atmosound technology to spread the classics of Peking Opera more vividly.
The art of Peking Opera is glowing with timeless brilliance through the screen. Looking forward to many years later, these films will still be well-deserved masterpieces in the hearts of the audience. (The author Li Zhongcheng is the former director of the Shanghai Peking Opera Theater and a playwright)
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责编：杨亚楠 ]