Please cherish the director who gives bicycles and non -heritage "plus drama"

After leading the audience to experience the new way of opening classical literature, the young directors were "reorganized".

The third round of the "Young Director Creation Support Plan" (hereinafter referred to as the "National Young Director Plan"), sponsored by the National Culture and Art Fund, was supported by the Beijing Culture and Art Fund in 2021, is also the last round of "martial arts". Young director Roland and Zeng Yonglin brought the drama "Star Su, White Horse, a Dream" and "Nian".

This time, elements such as games, electronic music, and non -heritage high -ranking drama were integrated into the stage by young directors, and perfectly combined with the plot. Audience: Praise +2

In "Star Su, White Horse, a Dream", Ji Gai, Wu Yong and others to get their birthday outlines are a game, and they are also young. Director Roland designed with drinking, fisting, and comedy plot, expressing the character experience and living youth sense, full of modern atmosphere.

Said, how many steps do you want to take a stroke of injustice? Is the point the point? Is it because of the wealth? Is it how to get it? Or is it the scoop? For a group of teenagers, this birthday outline is a game. The game is for teenagers, hunting, and robbery can also be. Star Su is a role, white horse is prop, the key is to play together! But in the game on this day, the current, action and meaning, inevitable, accident, and the other shore are blurred, making people do not discern the direction. , Only to be more separated.

"Nian" explores Lu Zhishen's inner space and real life by retrospective. Director Zeng Yonglin introduced the national intangible cultural heritage of Gao Jia opera in his work. He has a well -founded singing and vivid and humorous ugly corner performance, all blend with the plot.

Lu Zhishen -shaving hair, monk for monks, punched and kicked, robbing the rich and poverty. This is a very conflict and charm, but we have too many unwillingness and doubts about his exit. So we asked, we asked Song Jiang's mouth to ask, we asked Lu Zhishen to ask ourselves, and finally the phrase "I know that I am me today." Lu Zhishen opened the Water Margin. Drunk and troubled Wutai Mountain, the east capture thief's head. In the end, the Water Margin was closed in a silent way.

In a modern and classical, in the ancient and modern connection, the directors took the audience to take the audience on the journey of modern literary modern translation again.

What kind of interpretation of the characters in the play?

What are the interesting stories behind the work?

Listen to what the two directors say

the first time

As soon as they entered the theater, the 8 handsome actors sat in a row neatly. The audience: so handsome, interesting, liked.

△ Stills of the drama "Star Su, White Horse, A Dream", Photography Chai Lin

This is the careful thinking of Director Roland. Prior to "Star Su, White Horse, Dream", Roland participated in the creation of the drama of the Grand Theater, such as "Red Starting Point" (P.S. "Starting Point of Red" from August 17th to 21st in the National Theater theater of the National Dross of China. Go to see it), participating in the "National Young Director Plan" is the first time she has played a small theater drama creation.

The large theater and the small theater are not only the difference between the size of the stage area, but also the relationship between viewing is different. In the small theater, actors can interact with the audience with an interactive and emotional collision with the audience.

"I let them sit there in modern clothes. While examining and observing the audience, they are also examining and observing themselves and their roles." Roland believes that in the silence that is waiting for the performance, a sense of confrontation will be produced. "Only in the small theater, it is possible to happen between the audience and the actor."

△ Stills of the drama "Star Su, White Horse, A Dream", Photography Chai Lin

The feedback from the audience directly gave the actor. Roland felt that "this play is very exciting." Of course, Roland is also generous and frank, which may expose more problems, "such as actor's performance, or the drama. In the case of small theater, it is more difficult, but it is more direct, more exciting, and more happy. "

Director Zeng Yonglin also realized a first -time cross -border creation in the "National Young Director Program". "I think it is interesting to bring such a kind of song with the drama."

△ Stills of the drama "Nian", photography Duan Zhao

The high -man drama that was incorporated into "Nian" was a local traditional drama in Quanzhou and Xiamen City, Fujian Province. It is rumored that Gao Jia opera originated from a martial arts parade in the rural areas of the southern Fujian and early Qing Dynasty in the early Qing Dynasty.

Everything is very coincidental, and the coincidence in various senses- "Nian" tells the story of Liang Shan Haohan, and the form of opera is what Zeng Yonglin wants to use. "It is necessary to make a work related to traditional Chinese stories. It must not lose the soul of the traditional story, including the shape. What is the most flavor on the drama stage? It must be a opera in my opinion. "

△ Stills of the drama "Nian", photography Duan Zhao

As a Xiamen native, he has watched the performance of the Xiamen Jinlian Gaojia Drama since he was a child. In order to give the audience a better viewing experience, Zeng Yonglin also made some subtraction of the opera part to make it more life.

Junior and monk

For the director, the premise of portraying a character is curious about this person. Simply put, "you caught my attention."

What makes Roland curious is the cover, "Liangshan's second generation leader, but the original book does not describe him much. But I think this person is very interesting, he is rich and idle, why is he willing to rob the birthplace? Later Attacking Zengtou City, why didn't you bring more people? Why didn't he take Wu? Isn't that his small hair? This character has a lot of question marks. "△ The drama" Star Su, White Horse, A Dream "stills, photography, photography, photography Firewood

Roland chose to focus on the cover of the cover. The cover in her eyes has a chivalrous rivers and lakes. "He does what he wants to do. Even if he knows fate, he chooses to welcome his destiny and hit the poisoned arrow on his own."

Life is like a dream and a game. Ji Gai took a group of brothers to act together. "Star Su, White Horse, A Dream" uses modern elements such as chair, dice, beer bottle and other modern elements to highlight the brotherhood between the characters. The combination of contemporary electronic music and folk flute flute intertwined realism with romanticism. "We feel valuable for this kind of youth, although the end is the fate of tragedy."

△ Stills of the drama "Star Su, White Horse, A Dream", Photography Chai Lin

Zeng Yonglin's attention was attracted by Lu Zhishen. He felt that the character was particularly conflict, and what he did to run counter to the monk's identity. "How such a character is rich and three -dimensional, so that his story will not be too far away from us at the moment, so that the audience can accept recognition, it is our main direction."

"Nian" takes Lu Zhishen's silence as the starting point, looking back at life. Will he have any questions about his life? Did he recognize what he has done?

△ Stills of the drama "Nian", photography Duan Zhao

"We chose to let Song Jiang directly hit Lu Zhishen's heart. Song Jiang thought they were all sinners, but Lu Zhishen did not easily admit that he was guilty." At the same time, the role of the master was arranged to persuade Lu Zhishen to understand and reconcile with himself.

△ Stills of the drama "Nian", photography Duan Zhao

"Song Jiang and Master, a 'little devil', a 'little angel', Song Jiang is‘ come, continue to fight ’, the master is‘ do n’t fight, you already have a destination ’.” Zeng Yonglin said, the most interesting one, the most interesting one, the most interesting one The place lies in, "Lu Zhishen captured Fang La himself, and after making such a great achievement, he wanted to leave the team. There was no very specific reason in the original book, and it left us for the creation space."

pleasure

After watching a performance and describing the plot, people are always impressed by the happy scene. For example, in "Star Su, White Horse, a Dream", Song Jiang rode a shared bicycle into the field to send a ventilation letter, and the "noodles" were filled.

In fact, this is the "self -requirement" of the actor strong. In the previous scene, everyone was eating, drinking, drinking, and fun. He was afraid that he "could not see anyone."

Roland: Will you turn over? Everyone can see you.

Qiangyu: I won't, can I ride a motorcycle?

Roland: I can only provide shared bicycles.

Qiangyu: Happy .jpg ↓

△ Stills of the drama "Star Su, White Horse, A Dream", Photography Tasu

In the follow -up plot, Song Jiang and Gai drew the wine while drinking. In the face of the eyes asked by the cover, Song Jiang pointed at the bicycle: Drive without drinking.

Roland told us that this is also a smile that the actors collided during rehearsal. "When we were in line, we just thought that Song Jiang didn't really drink alcohol and poured the wine, but the sound of pouring the wine out in the rehearsal field was too loud, so the cover was covered, so the cover was covered. I heard. "So there was such an interesting line.

△ Stills of the drama "Star Su, White Horse, A Dream", Photography Chai Lin

There are no comedy lines in "Nian", but there are funny high -ranking scandal performances. In Gao Jia opera, ugly is the most classified, the most active, and most dancing, "particularly interesting."

It was a drama of Lu Zhishen pretending to be a woman to tease Xiaoba Zhou Tong. The opera actor Wu Boxiang played Zhou Tong.

△ Stills of the drama "Nian", photography Duan Zhao

In conjunction with Wu Xinjin and Wu Jieye's fun and joy, Zhou Tong opera's appearance earning the audience's attention. It is a dazzling solo, allowing the audience to experience the unique charm of the ugly corner of Gaoli opera.

△ Stills of the drama "Nian", photography Wang Haozhen

During this drama, Zeng Yonglin also borrowed the processing method of the Peking opera "Three Chaskou" to show the fighting between Lu Zhishen and Zhou Tong in the black light.

While presenting the character stories and transmitting emotional value, the two directors use a variety of drama expression methods and means to make the works have both ornamental and artistic, leaving the audience an unforgettable viewing experience.

Story in contemporary contemporary

Although the "National Leader Program" is a "semi -proposition" creation, for the two young directors, modernization translation of classical literature does not need to be deliberate, but the "consistent" in their creation.

Before becoming a director, Roland was engaged in stage supervision at the National Theater of China. Later, she had some things that wanted to create and expressed on the stage, and slowly turned into directors.

She is very interested in the human nature in the drama. "Because the development of the story and the development of the characters is completely determined by the human nature of each character. How to reveal human nature and resonate with the audience."

△ Stills of the drama "Star Su, White Horse, A Dream", Photography Chai Lin

Undergraduate learning composition and graduate stage learning director, Roland's works often appear in music elements. Of course, she "will have different ideas and designs based on different themes and different stories." And, "will definitely be a contemporary perspective, from the perspective of the young creators and aesthetics of our life. . "The props, multimedia, electronic music of" Star Su, White Horse, a Dream ", including actors, all the ideas and expressions of Roland as contemporary creators. Completely consistent, what we want to express most is to meet the aesthetics of young people now. "

△ Stills of the drama "Star Su, White Horse, A Dream", Photography Chai Lin

During the creation, Zeng Yonglin always brought more contemporary thinking and rarely started from a personal perspective. "What kind of position will this play go? What is its greater role and possibility? What can I give to this work? What kind of posture should I need to present in this era? "

These are issues that he will consider today. He said that this may be related to his teacher's identity -after graduating from the director of the Central Academy of Drama, Zeng Yonglin was a teacher at North China University of Electric Power. He often shows students' row, and the script of "Nian" was completed by him and student Lu Tianzheng, and Lu Tianzheng also starred in it.

△ Stills of the drama "Nian", photography Duan Zhao

Zeng Yonglin wants to tell the mainstream story through the drama. "Telling mainstream stories in China must be a Chinese story." The "mainstream" he said is very wide. "The drama I want to do is in line with the public behavior mode and thinking mode, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, that is, it is Everyone can understand the behavior and understanding of the people on the stage under the normal drama mode, allow everyone to look at some issues more positive and corrected, and better guide the public to form a benign behavior mode. "

"The excavation of Chinese dramas on Chinese themes, there are, but not enough communication and continuity." Zeng Yonglin felt that the "National Young Director Plan" was guiding the public to discuss the story of Chinese.

△ Stills of the drama "Nian", photography Duan Zhao

"The 12 directors' different thinking and presentation of classical literature will attract many audiences. The audience will spread and feedback, and the effect will be enlarged infinitely. We will talk about cultural self -confidence and cultural cognition. Things, don't find your own cultural identity, and do more effort, you may be attracted, people who can understand or understand are still niche. "

This may be the influence of the "young director's creation support plan".

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