“Lady of the Sea” poster
The dance drama of the same name adapted from Ibsen’s masterpiece “Madame at Sea” was staged at the Shanghai International Dance Center Grand Theater last night. This is another work written, directed and performed by Wang Yabin. The play condenses her thoughts on text and another exploration of body language to convey the spirit of literature.
A week ago, with the famous ballet artist Tan Yuanyuan as the artistic director, the dance drama “White Snake” was staged. This work, which brings together artists from all over the world, restructures Chinese folk legends and separates them from reality and consciousness, which is refreshing. And next Sunday, “Light of the Earth”, directed by Wu Husheng, “the first brother of Shangba”, will also break the ground to praise life with the light of hope.
“White Snake” performance photo by Xinmin Evening News reporter Wang Kai
Dancing is excellent and directing. Mesozoic dancers have stepped into a two-track art life in front of the stage and behind the scenes. They use their own understanding of life, thinking about literature, and pursuit of dreams to expand the extension of dance and prolong the life of the stage. The audience sees the infinite possibilities that dance brings.
open the way with literature
“Madame at Sea” is another exploration by Wang Yabin. How to express Ibsen’s drama as a dance drama that is not good at narrative, she has a steel scale in her heart. First, the branch-type characters were deleted: “Dance drama is more lyrical, and it is not suitable for the expression of too complicated plots and character relationships. From the text to the dance drama presentation, it must be ‘not deformed’. The most important thing is to read the text well, retain the spirit, and find differences. The point of view.” Two elective courses on literature in college opened a door for Wang Yabin: “Comparison of Chinese and Western literature and Western modernist novels have accumulated a lot of literary materials for me, and I have also retained the habit of reading.”
“The Lady of the Sea” performance photo
Among the dancers who are good at speaking with their bodies, Wang Yabin is one of the few talkers. At the promotion meeting of the 2015 China Shanghai International Arts Festival, she talked eloquently to performance agents from all over the world, telling the story of “Tsing Yi” Features. And this work with a distinctive Chinese logo and rich traditional elements can let people see the world expression of Chinese culture no matter where they go. Some audiences in Israel watched it with tears in their eyes and said excitedly: “I saw this film. The work is from China, and this dance has a strong appeal.”
Wang Yabin is often commissioned by the English National Ballet and the American Dance Festival, and his works have won the Oliver Award. She summed up the reason: “Vision is very important.” She set the creative principle for “Yabin and her friends” – telling Chinese stories in world languages and presenting world stories with Chinese elements.
race against time
It is said that ballet dancers are in a race against time, which is true. When I was young, in order to practice solid basic skills, improve skills, and cultivate muscle memory, I spent almost every day in the practice room. Finally, I can turn the ballet skills into my blood, and I can see that I have reached the critical point of my artistic career. Xin Lili, head of the Shanghai Ballet, once sighed: “The golden age of ballet dancers is only 10 years from 25 to 35 years old. At this time, their skills are improving day by day and they can control their bodies freely. It can also integrate the perception of life into the dance.”
“Light of the Earth” rehearsal photo
Wu Husheng’s attempt to choreograph and direct is at a critical point. From “stepping on thorns and looking up at the stars” in “It’s Hard to Say Goodbye” to the new work “Light of the Earth”, which is about to be released now, he can always choreograph the meticulous observation of the things around him into dance middle. “Light of the Earth” focuses on “hope” and tells the story of a “light chaser” born in a chaotic realm who chases “light”, sows “light” and finally becomes “light” in order to improve his situation, and praises the depth of life. Fearless, unyielding and tenacious in difficult situations.
Today’s Wu Husheng is not only the chief and main actor of Shanghai Ballet, but also shoulders the heavy burden of the director of the artistic creation department. His choreography always starts with music, “Music is the soul of dance. The inspiration for this work comes from Debussy’s “Moonlight”. In addition, he also selected the third movement of Beethoven’s “Moonlight”, two masters It is interesting to link works on the same theme through ballet.
Coincidentally, Tan Yuanyuan, who insisted on jumping to the age of 50, began to explore from classical ballet to modern ballet from “The Little Mermaid”, and participated in the choreography of works such as “Wonderful Night at the Art Museum” with famous paintings and modern expressions focusing on traditional themes. The dance drama “White Snake”. As the artistic director of “White Snake”, she is to realize a dream. “I have always believed that there is a green snake in the heart of the white snake. They seem to be two types, but in fact they are ‘two faces’. They dare to love, dare to hate, and are willful and free. The green snake is what the white snake can’t make…” (Xinmin Evening News Reporter Zhu Yuan)
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