The 13th China Art Festival Special | Li Bonan: The Mesozoic Director of the Comprehensive Rise

Director Li Bonan's "Construction of Chinese Drama Director System -17th Chinese Drama Festival · Chinese Drama Directors Summit Forum" sponsored by the Chinese Drama Association was spoke at Establishment of the Drama Directors System. From the birth of his first drama in 2006, in 16 years, Li Bonan has directed 83 dramas. The generation of "post -70s" has been fighting in the industry and kept climbing for progress. With the opening of the new century, this group of screenwriters and directors cut in from the booming small theater drama stage at the time. Many of them have become the young and middle -aged leaders in the Chinese drama industry, and they have become the front -line creators. As the best of them, a few days ago, Li Bonan was selected as nominated for the 17th Mandarin Director Award for its strong strength.

Li Bonan is a representative of the "post -70s" director. He was very creative, fits the times, and hit the audience's heart, and made an unforgettable practical exploration on the stage of the drama, and started in his director's career. After graduating from the Central Academy of Drama, Li Bonan broke into the field of commercial theater directly. With his strong balance and communication ability, he conceived "outside", and in the style of "elegant vulgarity", a new road was made outside the system. The investors in the field of drama were retained. His works are particularly highlighting the contemporary aesthetic taste, delicate styles, realistic and freehand transformations, easy narrative temperament, deeply excavated the character and spiritual life of the characters, the compassion is warm, and the laughter is suffering. He seems to have no taboos, but in fact, he respects traditions. He is like a few treasures in the college system. His inner respect for the rules and the innovation and creativity of the routine has made him reserve the energy of the cocoon.

For more than ten years, when the transformation of the state -owned institutions across the country, when the transformation of the company, seeking benefits from the market and transplanting works, they often first think of Li Bonan. He has set up a drama studio named after Hangzhou, Chengdu, Fuzhou, Shenzhen and other places, and has held personal drama exhibitions in Beijing, Shanghai and other places many times. A considerable number of professional colleges, colleges, and community units with high domestic and foreign colleges and universities have re -arranged his director's works. There are often some cities in the country that perform their works at the same time and perform different works in the same city at the same time. Li Bonan's grasp of realistic themes, historical themes, and traditional Chinese cultural themes are particularly skilled. In recent years, he has been introduced to the National Theater of China as a talent, which has opened another new article in the director's career.

From Mr. Jiao Juyin's "Chinese Drama Nationalization Explanation Outline", to the "artistic conception theory" of Mr. Zhu Duanjun, the director of Shanghai drama, and "the art of extending the aesthetic broadening of the aesthetics" ... With their theoretical summary and practical exploration, and the final expression, their theoretical summary and practical exploration have built the artistic building of the entire Chinese drama nationalization and the Chinese acting school. Faced with the valuable spiritual wealth of many director and artists' predecessors that have both practical exploration and academic expression significance, Li Bonan's intention from spontaneous to consciousness, refining the traditional Chinese culture in the art of directing the director of the director, will always be the completion of the process and the failure of the process of a process. The completion continues to extend and improve.

Li Bonan has "ambitions". He learned and learned from the works of his predecessors, and leaned out with his creative practice in the torrent of Chinese drama development. New voice. In the construction and practice of the entire Chinese acting school, the construction of the Chinese stage drama director system requires this generation to continue to respond and answer in the future. This is the mission and responsibility given by the times and history. In the process of the construction of the Chinese stage drama director system, how to link and think about the director system of the national spirit and the Chinese temperament? The director system of Chinese stage dramas is rich in ethnic style. It is a director system with the aesthetic spirit of the Chinese nation. Li Bonan has continuously sorted out his creative context with his works and thinking.

Li Bonan first realized that he should use traditional culture as aesthetic resources. This includes cultural factors of literature, art, opera, music, and folk folk customs, as well as song art. From his works such as "The Legend of Fuchun Mountain", "Crying and Laughing", "Yu Dafu · Naive Pens" and "Amnesty" and other works, you can clearly see his creative trajectory he pursued. At the beginning of the creation of his director's cross talk drama "Still Beautiful", how could he talk to them in the face of a group of excellent song art actors? Director's art is a kind of art that must be adapted to the new creation collective. The director's ability to adapt to control the overall situation. He learned "Hanging". Qu Yibo is profound. What is the situation of today's audience? How to "live"? What kind of interactive method is used? In the entire performance structure, the layout and position determine the posture and position of the expression, and determine the "drama location". This time the experience of creating a sound drama has benefited Li Bonan. He rehearsed with actors with cross talk, and even used the term. He found that many of them were connected with drama. This is Li Bonan's study of traditional culture, and its content is also deep in Chinese cultural genes. Everyone has their own limitations, but he is good at transforming limitations into creative personality and characteristics, and uses the cultural resources he has mastered and re -learning, especially learning for tradition.

In terms of director's art, Li Bonan continued to pursue East thinking as its spiritual cornerstone. China is the country of poetry, and the classic aesthetic thinking runs through the spirit of the East. Drama is a narrative poem. The poetic thinking of the creator determines its aesthetic value in the establishment of the director practice and the establishment of the stage drama director system. Each specific creative path, creative tools, and creative thinking point should have such consciousness -the Oriental spectacle, narrative, and performing outlook, that is, how space does not use the awareness of the environment as a starting point for creative thinking, but instead With poetic thinking and more hypocritical space perception, the creation point and foothold are created, and the overall visual expression has both rational and emotional expression. Thinking and expressions in performances, space and other aspects will be confirmed in the establishment of director texts. While conceiving the performance structure, the final Taiwanese book with director poetic thinking is formed. Contemporary performance of aesthetic thinking. Liu Yuqin, the former director of the Literature and Arts Department and literary critic of the People's Daily, believes that Li Bonan's drama "Happy Meeting" in the 13th China Art Festival shows unique ingenuity on the stage. The curtain was opened. The hutong representing Beijing culture on the stage and the courtyard of the courtyard were transformed into a building in the city. The common "four nine cities" expanded into a new area of ​​urban development. The abstract and image of the lighting and multimedia screen show the lights, creating a realistic background atmosphere. The huge slope in the center of the stage uses planes and lines to outline the living room, bedroom, kitchen and other spaces. The intention space is rich and artistic, with the distinctive characteristics of Beijing's specific areas in the new era. The creative practice of "Happy Meeting" is a new dimension with a full -scale expression of the drama creation of Beijing theme drama. The character status of the character under the moment, reminding the plot's promotion of the node and content of the content, this form also brings a lively atmosphere and youthful color to the whole drama. The whole work has made a useful attempt for how the drama creation of real theme drama "dewdrops and grounding".

Li Bonan is also pursuing the practice of coaching practices with a consciousness of national aesthetics. At the level of director skills and techniques, he respects the traditional Chinese aesthetic thinking of Chinese tradition. He believes that whether it is a formal relationship, the relationship between the truth and the truth, the true and false relationship, and the motion and static relationship, you should use the conscious thinking, such as the handling of the scenes of the commander The handling of characters should be presented with thoughtful creative skills and techniques.

Wang Yichuan, vice chairman of the Chinese Literary Critics Association and chairman of the Beijing Literature and Art Critics Association, commented on his director's drama "Activities to Humanoid", pointed out that the play presents a group of Chinese and Western in the stage of modern Chinese drama that has never been overdone and significant. Cross -cultural typical image, this sense of view is related to the specific stage processing of this drama and performance effect. The play has an unique place in the design and describes of the dancer. The center of the stage has changed the protagonist Ni Wucheng and his family in the old scenes of the old house of Meng Guantun, Hebei, Beijing Hutong residential house or urban restaurant. It is flexible and free, which is convenient for the protagonist and family members to stage their own sorrows or sorrows or sorrows. The setting of this multi -active scene device is just like Ni Wucheng's "activity becomes humanoid" book by Ni Wucheng to his son Ni Moma and his daughter Ni Ping. The same sexual association between the multi -action scene device and its multi -image combination of the "activity change" book provides a suitable stage time and space for Ni Weicheng's typical presentation of his personality. Corresponding to the above -mentioned multi -agitated stage central scenes, the edge of the stage provides a free and smart position for the dual narrative (narration) of the drama bystanders and parties, and the narrator Ni Zao.

As a director, Li Bo man reached middle age, and his artistic path was still long. His exploration and achievements on the director of the director have written a solid footnote for his pursuit. Love and spirituality are the best driving force, and the future is coming.

(The author is the editor -in -chief of Beijing Performing Arts Group's "New Script" magazine, first -level screenwriter, drama commentator)