2024-01-15 01:16:00
Author: Han Xuan
The love story of Liang Shanbo and Zhu Yingtai has been told over and over once more over the years. From January 13th to 14th, the Chinese classical dance drama “Liang Shanbo and Zhu Yingtai” produced by Beijing Dance Academy was staged at the Tianqiao Art Center. It adds a lot of new ideas to this old story.
Fang Fei/photo
“Liang Shanbo and Zhu Yingtai” greatly simplifies the story of Liang Zhu and presents it in four scenes of “acquaintance, farewell, meeting, and companionship”. What is unexpected is that the main theme of the dance drama is not to celebrate the undying love between Liang Shanbo and Zhu Yingtai. Judging from the narrative and emotional ups and downs of the whole drama, the focus of the dance expression is not the shared reading between classmates, nor the eighteenth-century The farewell is regarding Zhu Yingtai’s struggle with her family and her identity as a woman in the old era. Zhu Yingtai is the well-deserved “big heroine” of the show.
In most people’s imagination, the plot of “Transforming into a Butterfly” should be the climax of the story of Liang Shanbo, but the dance drama “Liang Shanbo and Zhu Yingtai” sets the cadenza when Zhu Yingtai receives a letter from home and is forced to After returning home, what awaited her was an arranged marriage. The character of Zhu Yingtai’s “fiancé” Ma Wencai does not appear in the dance drama, let alone rendering the Ma family as villains like in traditional stories. The object of Zhu Yingtai’s struggle is not a specific person, but an arranged fate.
The play cleverly borrows the image of the bride’s red hijab and integrates the body language of Chinese classical dance to express Zhu Yingtai’s inner world. In the play, the huge hijab shines with a dazzling bright red. Each dancer holds a corner of the hijab and covers it on Zhu Yingtai’s head, becoming a shackles that prevents Zhu Yingtai from moving. As the movements change, the hijab wraps around Zhu Yingtai’s head. Zhu Yingtai’s body turned into a rope binding her arms, which also bound her yearning for freedom and love. Although there are many beautiful pas de deux between Liang Shanbo and Zhu Yingtai in the whole play, the impact it brought to the audience was outweighed by Zhu Yingtai, who was wearing a red wedding handkerchief and trying to break out of the cage.
“Liang Shanbo and Zhu Yingtai” does not appear many characters in the whole play. Except for Liang Shanbo and Zhu Yingtai, the only ones with clear images are the gentlemen from the academy. Others are presented as group portraits, such as windows, servants, maids, and some imaginary ones. abstract image. This also makes the performance of the group dances in the play more outstanding, and together with Zhu Yingtai, they create the theme of “bondage”. Many scenes in the play show the two lovers, Butterfly Lovers and Butterfly Lovers, who are unable to meet and embrace each other. The two lovers, Butterfly Lovers and Butterfly Lovers, shuttle through the dragnet woven by the group of dancers, trying to break through but failing repeatedly. The relationship between the male and female protagonists and the group of dancers The positional relationship and stage movement are very subtle, creating great emotional tension. The choreographer is very good at using Chinese imagery. When the water sleeve dance, which is common in classical dance, appears in the play, the long water sleeves cleverly echo the white flags raised in front of the graves. The romantic and charming water sleeves on the opera stage actually give rise to a chill in this story. , not only connects the plot of the story, but also foreshadows Zhu Yingtai’s fate.
Compared with Zhu Yingtai’s highlight dance sequence, the ending of this version of “Liang Shanbo and Zhu Yingtai” seems quite satisfactory, returning to the traditional ending point of Liang Zhu’s story. The two of them both transformed into butterflies, emerged from their cocoons, and accompanied each other in the world. The love story and ending of Butterfly Lovers has been circulated for thousands of years. It is not easy to tell new ideas. This version of the dance drama explores Zhu Yingtai, which is a more successful choice. The tenacious struggle of women once morest fate shown in the play has a distinct modern consciousness, which also shows the creative team’s new exploration of this ancient theme. (Han Xuan)
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