Use drama works to pay tribute to literature and literature

In recent years, the Shaanxi People's Art Theater has been excavated and activated the art resources of the drama from excellent literary works. The novel has been on the stage of the drama, which has attracted the attention of the industry and the public.

Moving excellent literary works to the stage is the excellent tradition of Chinese drama art. Shaanxi has a historical tradition combining drama and literature, rich local literary resources, and multiple art markets with literature and drama. Get a win -win foundation. In the past 10 years, the Shaanxi People's Art Theater has invited screenwriters and directors from various places to persevere and polish works. The screenwriter Meng Bing has invested for a full 10 years for the creation of the drama "White Deer Plain". Cao Lusheng, the screenwriter of the drama "The protagonist", took three years to make a manuscript.

After watching the drama "The protagonist", the actor Pu Cunxin said: "The Shaanxi People's Art Theater has established an image of a literary theater, drawing nutrition from literature, and establishing a play." Literary quality is an important component of drama aesthetics. The drama and literature are deeply converted in the theme of the work, which is the basis of the two artistic styles. The different forms of literature and theater, the current areas of the table, and the appreciation object, have expanded the vast new world to re -creation and dissemination.

The drama "The protagonist" retains the literary spirit of the original work, and also creates a unique stage presentation; both respect the original work and pursue the innovative innovation of different samples. Respect the original spirit of the original book, reproduce the life attitude and passion of the original author and the main characters of the original, so that they can echo the lively and live one by one.

The creator of the play transformed the compassion infiltrated in the novel, transformed into the tone of the whole drama, and tightly grasped the original description of the destiny of recalling Qin'e, and handled and prominently handled it. Through a series of drama conflicts on Qin'e, the whole drama highlights the good quality of the characters. Digging the dramatic and philosophical nature of the protagonist's fate constitutes a major feature of this play. The "flower ring" and "Jingguan" two opposed art symbols alternately converted on the heroine. The protagonist lived in this conversion, reflecting the warmth contained in society and human nature. At the end of the whole drama, her return to hometown can be regarded as a "home -to -home". Earlier, the accumulation of distress and the depression of the year, the sorrow and the will of fate and the will of fate. The struggle to move forward constitutes the fate of recalling Qin'e.

In the play, the characters in the play, the ups and downs of destiny, and the spirit of the spirit surpass the three -level realm, so that the aesthetic meaning of the "protagonist" is deepened. As a result, the story of an actor has become the emotions and stories shared by many people in life, and triggers a widespread aesthetic resonance.

The tragedy torn beautiful things to people, and allowed life to bridge, sublimate, and mature in the constant tears, let the audience see the power of life and beauty. The whole drama writes a drama that is soaked with sadness and tragedy; the drama that interprets the philosophical philosophy of interpretation of "is not fighting" and "no place" is so hot and not easy!

"The protagonist" impressed me very deeply about the change of the stage concept. It does not use traditional field partitions. Several large paragraphs related to fate, according to the sequence of the protagonist's life, named after the relevant traditional repertoire, not only symbolizing the drama career of Qin'e, but also using the repertoire to imply the bitterness of recalling Qin'e's fate. The small plot section is flowing with the flow of characters and plots, and the environment and scenes are uninterrupted.

The director fully excavated the drama function of the crowd on the stage. The crowd composition of flowing, life -capable environmental elements sometimes constitutes walls and pillars, forming stage partitions, completing the transformation of physical space and externalization of character psychology. Sometimes the change of wind and light can sometimes speak, "say" the reaction of everyone. Although the interspersed continuous, the breath has always been in the rush flow. The contemporary audience who grows up under the cultivation of video culture can accept this stage expression of the conversion and dynamic dynamic dynamic. At present, there are still many shortcomings in this drama. It needs to continue to polish and mature. (Author: Xiao Yunru is the vice chairman of the Shaanxi Provincial Literary Federation)

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