The Poetic Expression of “A Thousand Miles of Rivers and Mountains” by Wuhui
——After watching the dance poetry drama “Only This Green and Green”
Author: Hong Ji
The dance poetry drama “Just This Green”, co-directed by Zhou Liya and Han Zhen, recently debuted at the National Centre for the Performing Arts. Perhaps it was the tremendous influence brought by the two chief editors and directors from the “Spy War Dance Drama” and “The Electric Wave That Never Dies”, or perhaps the profound cultural sense created by the China Oriental Performing Arts Group and the Palace Museum, which made “Only This Green and Green” suddenly “Very red and purple”! Judging from the title of the play “Just Green” and the subtitle “Dance Painting “A Thousand Miles of Rivers and Mountains””, I instinctively feel that this is a cultural product guided by the concept of “integration of cultural and travel”, reflecting the National Academy of Arts and Sciences and its chief creative staff. The “new imagination” of creative concepts. As an important measure of the current “deep reform”, “the integration of cultural and tourism” also follows the theme of “people-centered” in our cultural construction. Of course, it pays more attention to satisfying the “increasing needs of the people for a better life”. It is to enhance the cultural quality of “tourism” in a broad sense, including “you in art”. Therefore, for the title of “Just This Blue and Green”, there must be a preview of “culture”.
Dance poetry drama “Only This Green and Green” stills photo by Wang Xufeng
The “green” here is related to the “A Thousand Miles of Rivers and Mountains”. “A Thousand Miles of Rivers and Mountains” in silk and color is the only painting handed down by the Northern Song painter Wang Ximeng, but it is also regarded as a masterpiece of the green landscape of the Song Dynasty. It is a bit like the poet Zhang Ruoxu of the Tang Dynasty who left the immortal poem “Chunjiang Hua Yueye”. According to legend, this painting collected in the Palace Museum today was completed by Wang Ximeng after half a year, and he was only eighteen years old when it was completed. The painting inherits the traditional “blue-green method” in color and brush, that is, it uses azurite, stone green and other minerals as the main raw materials. The color is exaggerated and has strong decorative properties. It is called “green landscape”. . The famous calligrapher Pu Guang of the Yuan dynasty praised “A Thousand Miles of Rivers and Mountains” and praised it in the epilogue at the end of the volume: “In ancient and modern Danqing small scenes, one can walk alone for thousands of years, and almost all the stars are the lone moon ear.” “Culture” preview, we can understand why the China Oriental Performing Arts Group and the Palace Museum have chosen “A Thousand Miles of Rivers and Mountains” to create cultural products; we can also understand why Zhou Liya and Han Zhen’s “Dance Painting” created a “dancing poetry drama” The structural modalities.
The so-called “dancing poetry drama” structural mode refers to the setting of the situation and its logical connection in “Just This Green”, which should mainly be developed around the painter Wang Ximeng or the painting “A Thousand Miles of Rivers and Mountains”. But it is obvious that the current situation setting of the poem drama is not very closely related to these two aspects. If it revolves around the life experience of the painter Wang Ximeng, I only know that he was favored by Song Huizong Zhao Ji and taught his pen and ink skills. If it revolves around the painting “A Thousand Miles of Rivers and Mountains”, this picture does not seem to be as rich in connotation as Zhang Zeduan’s “Surfing the River on Qingming Festival” in the Song Dynasty-the “dance poem” (not called “dancing poem”) created by Liang Guocheng, choreographer and director of Hong Kong Dance Company “Play”) unexpectedly restored sixteen scenarios from the picture, including “Carrying Donkeys in the Spring Suburbs”, “Smoke Willows in Sui Embankment”, “Walking Horses and Fun”, “Ping Umbrellas”, “Social Huo Dramas”, “Shoulder Hub Strikes”, ” “The Tracker Against the Water”, “The Hundred States of the River Market”, “Yeye Shengge”, “Central Plains Sedan Chair”, “Pingqiao Fish Watching”, “God Praying for Blessing” and so on. But in the face of “A Thousand Miles of Rivers and Mountains”, we can neither use dance to describe the ups and downs of the peaks and the mountains and the vast rivers, nor can we metaphorically use dances to describe the pleasant landscapes that can be visited and lived, and the “green landscapes” clearly show that time. People’s yearning for “Longevity Fairy Mountain”.
The current dance poetry drama “Only This Green and Green” has a total of seven scenarios, namely “Zhanjuan”, “Inquiring Seal”, “Singing Silk”, “Searching for Stone”, “Practicing Brushwork”, “Quenching Ink” and “Entering Painting”. In fact, the “Exhibition Volume” here is just a prologue. It is a researcher from the Palace Museum known as the “Exhibitor” who opened the narrative of the dance drama by unfolding the picture scroll; while the “Into the Painting” here is At the end, an anthropomorphic “green” painting material dressed up by a group of ladies walks slowly from the edge of the platform to the sky, until it blends into the “silk” used for painting in the sky. In other words, as formal situations, “Questioning Seal”, “Singing Silk”, “Searching for Stones”, “Xibi” and “Quenching Ink” are the places where the choreographer derived from this “dance”-these five situations are all Closely related to the “green landscape” of silk and ink. For example, “Wen Zhuan” is a seal carving focusing on the knowledge of silk paintings; “Singing Silk” is a silk weaving of people singing sericulture; “Xunshi” is a mineral material that is ground with azurite green; “Xibi” is a picking The essence of Wanmao; “Quenching Ink” is the gelatin of pine smoke light glue… but obviously, the choreographer is abstracted from a concrete painting to the level of material and technique, which is to show all the “dancing paintings”. To be precise, the dance poetry drama “Only This Green and Green” is not in the “dancing painting” of the specific “A Thousand Miles of Rivers and Mountains”, but is showing a kind of “production process”, showing how we can have one A “green landscape” with Chinese cultural heritage.
The theater magazine wrote: “The whole play adopts a narrative structure of interlaced time and space. The plot is set at the time when “A Thousand Miles of Rivers and Mountains” is about to be exhibited in reality, and also when the young painter Wang Ximeng is about to complete the draft a thousand years ago; Because of the painstaking study of “A Thousand Miles of Rivers and Mountains”, I walked into Wang Ximeng’s heart, and accompanied him through the precious time of drawing “A Thousand Miles of Rivers and Mountains”…” In fact, this “dancing poetry drama” seems to me to be The structure of “double lead dancers”——According to the performance program of the “team dance” of the palace of the Song Dynasty, the “lead dancers” responsible for hooking and releasing the team are called “bamboo poles”, and we can also regard the play as “double bamboo poles” “structure. “Zhanjuan” is the first level of “bamboo poles”. From the situation of “Zhanjuan” he drew the anthropomorphic “green”, which is a penetrating signifier, and also led to the second level of “bamboo poles.” “Zi” (also known as “dance dancer”) Wang Ximeng. Moreover, the two “bamboo poles” each have a “workbench”-the exhibitor is the workbench used by the current restoration staff of the Palace Museum, and Wang Ximeng is his painting as a student of the “painting school” in the Song Dynasty. case. In addition to the differences in their costumes and appearances, these two “workbenches” with obvious differences in time and space also show “interlaced time and space.”
In fact, the “double-introduction dancer” structure that appeared in the play, I think it is more appropriate to call the “layered style” than the “interlaced time and space”. Because it is obvious that if you want to allow the “exhibitors” to enter the dance stages of “Questioning Seal”, “Sing Silk”, “Searching for Stones”, “Principles” and “Quenching Ink” through “concentration study”, it is inevitable that there will be “yuefu on behalf of you”. It is also obvious that the “exhibitor” cannot enter the heart of Wang Ximeng, who is less than eighteen years old. The character image of Wang Ximeng in the play is actually better than that of various sceneries. The leading dancers such as seal carvers, silk weavers, stone millers, pen makers, and ink makers do not have a deeper personality. Because the director knows very well that the play is called a “dancing poetry drama” because it can avoid artificially weaving event conflicts and mental entanglements; and we know that the lack of such conflicts and entanglements of mental images, portrays the personality of the characters. And character growth is unavoidable to have shortcomings!
Fortunately, the creative positioning of the dance poetry drama “Only Green” is a cultural product guided by the concept of “integration of culture and travel”. To be precise, it is a very exciting and excellent stage performance product under the guidance of this concept. It can be seen that the most effort of the director is not the “drama” of “poetry drama”, but the presentation of dances with charm, charm and interest in each situation-this is the most posture of “poetry drama”. The “poem” is vivid, with the most agile charm and the most dynamic imagery. The sonorous and powerful “five men’s dance” in “Wen Zhuan” condenses confidence and will; the graceful and light women’s group dance in “Singing the Silk”, flowing with meticulousness and meticulousness; in “Searching for Stone”, the stone-grinding person and the “simulating stone” The mortar and grinding of “Zhe” creates firmness and composure; another elegant and charming group dance of women in “Xibi” gives birth to elegance and beauty; the gritty group dance of men in “Quenching Ink” is filled with honesty and tolerance… …It needs to be pointed out that in the creation of Zhou Liya and Han Zhen’s past dance dramas, there are excellent stories about group dances: for example, “Rain Beats Basho” in “Once Upon a Time in Sand Bay”, “Lie Ren Xing” in “Du Fu” and The “Fishing Lights” in “The Electric Wave That Never Dies”…This series of group dance shows firstly observes the different working life carefully and accurately extracts the dynamics; secondly, the painter Wang Ximeng’s guidance of nature and organic structure; thirdly The most important thing is that the creation of this “situational dance” is fully integrated with the stage’s multi-loop mechanical rotation and the installation of the set design, achieving the “creative development” of dance creation in the “overall theater view”. .
At the end of the play, a long row of showcases was raised at the orchestra pit. Many contemporary visitors watched in front of the showcases with admiration. On the canopy, the “A Thousand Miles of Rivers and Mountains” that had been “dancing” on the stage was projected… Almost all the audience Standing up, there was thunderous applause for telling a good “cultural relic story” for the play. I think the play is even more commendable. When Henan Satellite TV’s “Tang Palace Night Banquet”, “Luoshui God Fu” and “Qixi Wonderful Tour”, etc., used the advantages of images to produce a “breaking circle dance” effect, dance poems The play “Just This Green” has very important value and necessary significance for the persistence of stage performance. (Hong Ji)
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责编：李浩巍 ]
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