Beijing Arts and Crafts staged a commemorative edition of “Cai Wenji” Photo by Shi Chunyang
China News Service, Beijing, April 20th (Reporter Gao Kai) On the evening of the 19th, the commemorative edition of “Cai Wenji” of the Beijing People’s Art Institute appeared on the stage. Xu Fan, Pu Cunxin, Zou Jian, Yang Lixin, Liu Hui and other old and new faces familiar to the audience all returned. . In different versions, the “cross-generational” combination partner has achieved a rare “gathering” on the stage of the art, and it is also the inheritance of the old and the new, and a retrospect and tribute to the history of the theater.
Beijing Renyi was once known as the “Guo Laocao” theater. On the occasion of the 70th anniversary of the establishment of the academy, Beijing Renyi used this classic of Guo Moruo to taste the mellow taste of nationalization of the drama with the audience on a poetic stage.
“Cai Wenji” was born in 1959. It was written by Guo Moruo, directed by Jiao Juyin, and starred by artists such as Zhu Lin, Diao Guangtan, Lan Lanye, Su Min, and Tong Chao. It is not only an uncompromising classic in the history of Chinese drama, but also one of the successful representatives of Jiao Juyin, the chief director of Renyi, in the practice of drama nationalization.
In 2001, director Su Min put the play on the stage once more, and Xu Fan, Liang Guanhua, Pu Cunxin, Yang Lixin, Zhang Zhizhong and others joined. In 2011, Su Min and Tang Ye co-directed, Yu Mingjia, Pu Cunxin, Yan Wei, Zou Jian, Liu Hui and other actors formed a new lineup.
For more than 60 years, the inheritance from generation to generation has made the history of “Wenji Returning to Han” and the touching “Eighteen Beats of Hu Jia” an indelible stage memory. In addition to the story, the nationalized aesthetic expression, poetic and romantic artistic style of the works have become its distinctive signs, providing a model for the exploration of the nationalization of dramas in the future.
Director Tang Ye said that this year’s commemorative version of “Cai Wenji”, which was specially reunited for the 70th anniversary of Renyi, uses a lineup that combines old and new to “present the collective emotions of several generations of creators to the audience through the precise interpretation of the stage characters, and jointly express one A fresh, simple and shocking artistic style.” At the same time, inheritance does not mean that there is no creation, this time the performance is given a modern interpretation and interpretation. While allowing the audience to appreciate the traditional beauty, they can also have a dialogue with history with the understanding of contemporary people.
In this play, the handling of love is more delicate, and the family and national conditions, husband and wife, mother-child relationship, etc. are euphemistically moving; the interpretation of the characters is also fuller, the positive characters have more layers, and the “negative” characters are more reasonable.
The performance style of “Cai Wenji” is unique. The aesthetic form of Chinese opera and the romantic feelings of the play itself are all reflected in the performance of the actors. Every step and every turn, you can see the reference and integration of the opera.
From playing the role of Cai Wenji in 2001 and 2007, to this year, Xu Fan met this role once more following a lapse of 15 years. She believes that this drama has cultivated her. “This drama can exercise the actor’s temperament, mind and attitude. I am very fortunate. Encountering this role, I can even say that without Cai Wenji, Xu Fan would have no temperament.” For playing such a talented female role once more, she admitted that her performance is more mature. “Because my experience has grown, I can understand the role better. I think people should pour out love for their country and family, and this kind of life has meaning.”
“Because of the two brothers Yang Lixin and Pu Cunxin, my heart is relaxed.” Xu Fan said. In addition to the tacit understanding between the actors, the reunion of several old partners on the same stage also made the audience call it a long time ago. In 2001, Pu Cunxin was Dong Si in the play, and in 2011, he was “upgraded” to Cao Cao. Playing the role of Cao Cao once more this time, this character has changed from the domineering impression in the audience’s impression, but is more refined and wise, highlighting his side of Wenzhi and martial arts. Although he has never left the crew, Pu Cunxin believes that “how to find a balance between reality and romance is our eternal homework, and we must ponder every scene.” And the so-called “negative character” Zhou Jin in the play, this The second was “corrected” by Yang Lixin. He is no longer a bad guy, but a “good guy doing the wrong thing”. “This play is the ultimate work of romanticism. The way of life is not necessarily suitable. We must dare to use the performance on the stage to create rhythm, create suspense, create interest, and enrich the details yourself.” Yang Lixin said.
It is reported that this round of performances will continue until May 3. (Finish)
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责编：李宜蒙 ]
