Home » The full-length drama “Dream of Red Mansions” will be staged in Yecheng for 6 hours.

The full-length drama “Dream of Red Mansions” will be staged in Yecheng for 6 hours.

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The full-length drama “Dream of Red Mansions” will be staged in Yecheng for 6 hours.

New Hainan Client, Nanhai Net, Nanguo Metropolis Daily News on October 11 (Reporter Chen Wang) On October 29 and 30, the full play “Dream of Red Mansions” produced by the Shanghai Drama Art Center will be staged at the Haikou Bay Performing Arts Center. The six-hour picture-scroll-like presentation unfolds the dream of the Red Chamber slowly amid prosperity, wealth, and sadness and fear, allowing the audience to re-look at the classics while standing in mid-air, and appreciate the ultimate contemporary Chinese aesthetics in a vast white fantasy.

The full-length drama “Dream of Red Mansions” is about to be staged in Yecheng.

As the pinnacle of classical literature, “A Dream of Red Mansions” is a masterpiece. How to present it in 6 hours? The full version of “A Dream of Red Mansions” gives such an answer. The whole play consists of the upper part “Fengyue Prosperity” and the lower part “The Birds Return”, breaking the original timeline, based on the relationship between characters, the relationship between people and family, politics and society, dreams, illusions, mirror images and reality, past, present and future dialogues, etc., to reconstruct the play with the struggle and connection between man and destiny.

The full-length drama “Dream of Red Mansions” is about to be staged in Yecheng.

The whole stage is dominated by white, and the three huge “white walls” are opened and closed following the plot, like a book opened on three sides. There are also some ingenious settings. For example, the hollow text on the iron structure set is from “Dream of Red Mansions”. “The poem “Okay Song”, such as exquisite wooden sedan chairs, carved tables and chairs, pavilions and so on. To capture the intention of “falling red”, a piece of red was sprinkled on the original monotonous white ground, and the “red” continued to sprinkle during the development of the plot. As the plot required, the actors would bring these “falling reds” with them. , the entire stage is covered with broken “falling red”, extending to every corner.

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The full-length drama “Dream of Red Mansions” is about to be staged in Yecheng.

The costume design of the whole play is based on the theme of “Wugou”. It originated from Jia Baoyu’s heart of the truth and goodness of the Rongning Second House, which is “Nogoo”. It is also a pure place and ideal that he hopes will never be eroded by the world. country. All characters’ costumes are in white color, with tea white, moon white, tooth white, and turquoise as the base, and according to the character’s identity, character, and destiny, supplemented by embroidery techniques, adding cinnabar, purple red, daisy, crow blue and other colors; A large number of traditional Chinese fabrics such as silk and ramie are used, and modern and simple tailoring is added on the basis of classical costumes to construct a unique aesthetic world view of the drama “A Dream of Red Mansions”.

More than 20 actors, more than 60 roles, and one actor has 5 or 6 times of dressing/dressing. The show uses the largest costume team in the history of the show, just to let the audience immerse in this dreamy and shocking Red Mansions One. Dream. In the white stage set, the whole play uses the aesthetic lighting language to create a dream-like scene, which delicately and accurately sets off the scene and the performance of the actors without revealing any traces, giving the audience an echo of inner feelings. So as to convey the connotation and emotion of the drama.

In order to highlight the expression of classical beauty and Chinese-style beauty, the drama “A Dream of Red Mansions” also combines modern dance and traditional opera in form, presenting an impactful stage language to the audience, allowing the audience to see a performance method they have never experienced before.

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Responsible editor: Wei Xiaofan

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