From Du Li Niang, to the self -awakening of actresses and AI

When it comes to "Peony Pavilion", people always think of that peerless love. "I don't know what to do, and go deep and deeper." Du Li Niang and Liu Mengmei fell in love over life and death, so far.

And Du Li Niang, who had disappeared in the love of love, and then returned to life, her resistance and awakening always performed very subtle in related works.

This time, the young directors Zha Wenyuan and Zhang Cong chose to show it as the kernel of the work and show it to the audience.

What would she be like when Du Li Niang lived now or even in the future?

In the fifth round of the "Young Director Creation Support Plan" (hereinafter referred to as the "National Young Director Plan"), hosted by the National Culture and Art Fund for 2021, in 2021, they brought the drama "Not in Mei Zian, not in Mei Bian, not In Liubian "and" imitating lover ", translated classical literature from the perspective of contemporary young directors.

Among the two works, Du Li Niang is not just Du Li Niang in "Peony Pavilion". She is a Kunqu actor, a AI, and you are me.

Search for "I"

Died for love, is Du Li Niang "love the brain"? of course not.

If she only has a superficial cognition about her story, there may be such a view, but after a deep understanding, you will marvel at her anti -bone.

At the beginning of the creation, Cha Wenyuan also misunderstood Du Li Niang, thinking that she was relatively weak, and did not find her resonance point with her.

△ Stills of "Not in Mei Bian to Liu Bian", photography Duan Zhao

The ideal type of her creation is Lu Zhishen's "image that can reverse her destiny", and Du Li Niang "has too much restrictions, and her energy seems to be limited. Although she is resurrected later, she still uses external forces."

However, with the deepening of her understanding, she realized that Du Li Niang was a very remarkable fighter. "She can die for a dream, which is definitely not what ordinary people can do."

"Dream" is not just a dream, it represents more symbolization. Cha Wenyuan discovered Du Li Niang's consciousness and resistance. "Beyond life and death, you have to pursue his ideal emotions, or a lifestyle. This is a very romantic way of writing. How strong is the power of the kernel inside."

She wants to use her work to "rectify her name" for Du Li Niang.

Kunqu actor Du Ruo, the heroine of "Not in Mei Bian", was born in a drama family and sang Du Li Niang from elementary school. He was also planned early in his life. But is this what she wants?

Through the dramatic technique, the director will intertwined the story of Du Ruo and Du Li Niang, and the self -growth of the two women has gradually shown.

He had to be on the toad palace, and he was not in the side of the side.

In "Peony Pavilion", Du Li Niang couldn't find a dream. He painted himself and left a sterile to dispel the jade. Outside of "Peony Pavilion", a Kunqu actor who plays Du Li Niang once again sought dreams and took photos of the mirror. What did she see in the mirror? Outside the play, if you are trying to control the fate of self -fate, the two women in different times make similar calls. Is it an impossible search? Or do you want to be echoed? The answer is far from the sky, and it seems to be in front of me ...

The mirror is an important image of "Not in Mei Bian to Liu Bian".

In the classical drama story, women's portraits of the mirror are extremely rare, "because women are usually the object of being seen and painted." Cha Wenyuan believes that let Du Li Niang stare at herself and draw the image of herself one by one. The pioneer of "Peony Pavilion" is also the greatness of Tang Xianzu's surpassing the times.

△ Stills of "Not in Mei Bian to Liu Bian", photography Duan Zhao

Does contemporary women also need to look at themselves and gain some kind of spiritual growth? So Du Ruo also observed himself in the mirror.

The eight large scenes in the dance beauty symbolize "feudal, high walls that imprison human thoughts and emotions", and each side has mirror inlaid, which has some echo with the theme of the drama.

△ Stills of "Not in Mei Bian to Liu Bian", photography Zhang Xidan

Zha Wenyuan designed a relatively large stage movement, reversing six of the "high walls" and turned into a mirror face to the audience. Du Li Niang's life is gradually open in the process of self -introspection, and the high walls have been broken. "

Because love becomes a "person"

If "Not in Mei Bian to Liu Bian" conveys "Now", "Imitation of Love" is "the future".

The plot of director Zhang Congxuan is the thirty -two "Oath" of the original book. In this fold, Du Li Niang is still a ghost, telling the story of "people ghosts are not affectionate".

Zhang Cong thinks that such a plot is now on, the audience is not able to empathize. On the contrary, people have a stronger ability to enjoy their empathy. “有一天我刷手机的时候忽然冒出来一个念头：我也不知道手机对面的人究竟是真实的还是虚拟的。这和鬼的概念是很像的，都是虚拟的、没有实体的， So we decided to turn the 'human ghost affection' into 'human and machine affairs. "

According to the "Mimimic Love" based on "Mudan Pavilion · Oath", a story of a love adult is telling an adult. Perhaps because of the dream, people who are out of chase will chase the phantom. After 400 years of love and vows, it is still a proposition that has not been solved to this day.

100 years later, all activities in human society have been transferred to the "virtual world", work, life, and love can be completed online. Love has become a string of data simulation. Marriage has completely become the vulgarity of the times. Government and scientists have worked hard to curb the demise of the "real world", but they have little effect. A pair of lover who adhered to the "oath" made people re -recognize the beauty of "love" and reinstated the desire for the "real world". Can they really break away from the restraint of reality and virtual, do they get their wishes? Then, the problem is. Will the two of AI and "Peony Pavilion" have "walls"?

Of course. "Difficulty is divided into two aspects," Zhang Cong explained, "One is the big background of the script, and the original background of" Peony Pavilion "is not too much in modern times." But this problem is easy to solve. " We set it as a virtual world. "

As for the second, it is "more difficult to solve philosophical issues." Will it threaten humans if AI awakens? Is it more advanced than humans after self -consciousness? Does it have old and old? Can it replace humans? The answers to these questions cannot be found on AI Du Lixiang.

"We have no way to put all these issues in, otherwise the script loopholes are full of vulnerabilities." Zhang Cong just wanted to focus on a story, "It is precisely the pure love story in" Peony Pavilion "helped us. The part was taken out and did not magnify other parts. AI and love, I think it is a relatively harmonious combination. "

△ Stills of "Imitation of Love", photography Ge Jing

Du Li Niang's self -awareness of "Peony Pavilion" was also put on AI Du Lixiang. "In addition to being a love story, it also expresses Du Li Niang's awakening as a girl, so she will die for the people in the dream. We will take self -consciousness to awaken this large core to do the whole play to do the whole show ","

In the play, Du Li Niang had a self -awareness and passed the Turing test, and finally became a love experience product, which was launched in various markets.

As for her story with Liu Mengmei, Zhang Cong left an open ending for the audience to understand it.

△ Stills of "Imitation of Love", photography Ge Jing

Opera and music

Kunqu can be said to be the finishing touch of "Not in Mei Bian to Liu Bian".

Ma Jing, the young actor of the Kunqu Theater in the Northern Kunqu Theater, often plays Du Li Niang in the theater. Essence

△ Stills of "Not in Mei Bian to Liu Bian", photography Duan Zhao

Cha Wenyuan also wanted to make even a little promotion to Kunqu. As Ma Jing said, Kunqu is "a form of opera in the museum". How can more young audiences interested in Kunqu?

During the rehearsal process, Ma Jing's trick and one style made Cha Wenyuan feel the beauty of Kunqu opera, and let her "have a lot of rich associations", and think about how to schedule. "If you don't walk into it, you will never know how good it is."

In the play, Du Ruo rescued his father, dressed as Liu Mengmei to perform on the stage, and resurrected Du Li Niang. To this end, Wang Sannan, the drama actor of the National Grand Theater who played this corner, learned from scratch and quickly achieved it in a short period of time.

With this play in this play, Du Ruo also completed a self -growth. "She found the positive energy on her body, which can rescue her from her previous dilemma and improve her personality." Therefore, she realized self -salvation that does not rely on external forces.

In addition, the form of musicals is also a major feature of "Not in Mei Bian to Liu Bian". Several original music is just right to hook the plot, showing the inner world of the characters.

△ Stills of "Not in Mei Bian to Liu Bian", photography Duan Zhao

Actor Wang Sannan is a specialty of musicals. During the creation of the script, Cha Wenyuan considered how to maximize the ability of the actor and fits the plot. "Du Ruo is trapped in the" rules "of the Kunqu family. What kind of occupation or form can she be carried by the freedom she wants? The musical is very suitable, and the actor will also be in line with heaven."

There are also a lot of music elements and plots that are combined with the plot, mostly the classic songs of the audience -although it is contrasting with the plot, Zhang Cong still has a little regret. If you continue to do the opportunity, you should re -make these music in the form of professional arranges. "

△ Stills of "Imitation of Love", photography Ge Jing

However, the use of opera in the opening of "Imitation of Love" is very new. You can imagine it as "Poping opera".

Zhang Cong used puppets and Facebook to make Du Li Niang and Liu Mengmei sing a mechanical sense. "It is also to show that in the virtual world, people have no true feelings after being paralyzed."

△ Stills of "Imitation of Love", photography Li Yan

At the beginning, Zhang Cong also wanted to invite professional opera actors to take on this part. "Later, in the process of integration, I felt that it was better interpreted as an element in this play, so I adopted some broken, elements of elements, elements. The display of Hua has replaced the entire opera display. "

From the unique works, we can see the charm and ability of the two young directors, and we can also see the contemporary creators' thinking about drama from their perspective.

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Zha Wenyuan has long determined that he wants to be a director, from undergraduate to a PhD, and has been studying the director's major. The family who is engaged in drama has a certain impact on her, but more importantly is her love for this industry. "The greatest power of the drama is to believe. The actor does not believe in the characters he plays on the stage, and he plays a bad person; I don't believe the thoughts I want to convey in this drama, I will say this thought; if the audience, if the audience, if the audience is If you don't believe these characters played by the actor, he can't really know what we are talking about. "This" hypothesis belief "is the biggest charm of Cha Wenyuan's eyes. The power of power is passed out, this may be my dream. "

△ Stills of "Not in Mei Bian to Liu Bian", photography Zhang Xidan

Prior to the "National Young Director Program", most of her works she participated in the creation were foreign classics. After returning from studying abroad, Cha Wenyuan's importance of cultural self -confidence is more profound. "We must always believe in our own culture. It is powerful."

She also wanted to try to do local original subjects. As soon as the opportunity, "Not in Mei Bian to Liu Bian" was born.

Zhang Cong's employment choice is another firmness--

Undergraduate learning international relations, one -sighted translation and same -pass, and the two scholarship learned the drama director; at the beginning, he did not take the drama as a professional choice, but kept connecting with friends who did drama. In the end, she set a goal, "I have to choose a career path before the age of 30, and I will resolutely choose the drama."

This is also the dream that Zhang Cong continued as a student in his school. He finally turned his dream into a career and worked step by step. "I think it is a particularly meaningful thing."

△ Stills of "Imitation of Love", photography Ge Jing

She doesn't want to "let the audience learn something or impose something to them", she just wants to tell the story well.

Although the work has its own style, the two directors have a different tacit understanding in the creative thinking of Chinese drama: to carry forward our own national and traditional outstanding artistic expression methods, discover the "treasure" from classic literature; The audience must also find the emotional resonance with the international audience, so that international audiences can see and understand.

I think this is also the goal of "National Young Director Program" to work hard.

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