Try to incorporate Gao Jia drama into the drama!Xiamen director Zeng Yonglin's work appeared in the "Young Director Creation Support Plan"

The small theater drama "Nian" joined the role of Master and persuaded Lu Zhishen to reconcile with himself.

"Nian" uses stage space and shape to express Lu Zhishen's inner world.

Lu Zhishen (left) fights with Xiaoba Zhou Tong.

The "Young Director Creation Support Plan" hosted by the National Theater of China, and recently completed the first round of ending performances at the Pioneer Smart Theater in China in Beijing. After six weekends, 12 young drama directors have launched it here. The 12 small theater dramas of the classical literature "Water Margin" and "Peony Pavilion" are innovatively adapted from contemporary perspective, including "Nian" directed by Xiamen director Zeng Yonglin.

The biggest highlight of "Nian" is to interpret the original work rather than the new editor. The director integrates Xiamen high -armor drama into the drama without losing its original intention. With "taste", the soul of the Chinese story in inheritance and reference, exploring the localization and nationalization of the drama. Recently, our reporter connected in Beijing Zeng Yonglin, listening to the behind -the -scenes story of "Nian".

New angle

Make the audience easier to accept traditional classic stories

Reporter: This creation is a proposition composition. In the director's words, you mentioned "digging a new angle of traditional classic stories". How did you do it?

Zeng Yong: China National Theater launched the "Young Director Creative Support Plan" earlier this year, requiring the completion of the propositions of classical literature "modern translation", and captured materials from the two famous works of "Water Margin" and "Peony Pavilion". At the beginning, I determined "Water Margin", because there are many martial arts pictures in the Water Margin, which can make more interesting attempts. What form can outline the taste of traditional Chinese stories? To my opinion, it must be opera. Secondly, we dilute and transfer the classic content first, not to overthrow the original content, but through a new interpretation and adaptation of a certain event or character, make modern audiences easier to accept, and resonate with the protagonist of the story.

Reporter: Why choose Lu Zhishen in "Water Margin"?

Zeng Yonglin: Every character in "Water Margin" is looking for their respective consciousness recognition value, critical colors with different conflicts, and it is difficult to choose a character. In my dream, I saw Lu Zhishen's life from life to death. This character is particularly conflict, and its actions are running counter to the monk's identity, which can be presented and discussed through drama. Therefore, "Nian" uses Lu Zhishen's silence as the entry point, using stage space and shape to express Lu Zhishen's inner world, telling his experience through a retrospective manner: Three Boxing killed the Zhenxi Kansai, and used the plan to fight for a strong marriage. Zhou Tong ... We chose to let Song Jiang directly hit Lu Zhishen's heart. Song Jiang believes that they are all sinners, but Lu Zhishen does not easily admit that he is guilty. At the same time, the role of Master (played by the representative inheritance of the national non -heritage project Gaojia opera, Ji Yafu) in the play, persuaded Lu Zhishen to understand and reconcile with himself. "The Qiantang River is on the tide, and today I know that I am me." The so -called "one thought of life", everything is desperate from one thought. Perhaps it is a good idea, but the good idea is not necessarily good. This is the main purpose of the drama "Nian".

New technique

Incorporate the perfect fit of the high armor drama to add the sense of atmosphere

Reporter: Why do you choose Gaoga opera in the creation?

Zeng Yonglin: As a Xiamen, I have watched the performance of the Jinlian Golden A Drama Troupe of Xiamen since I was a child. Later, under the influence of my father's subtle influence, I became more familiar with this drama. Gao Jia opera is said to be born in the southern Fujian region in the late Ming and early Qing dynasties. At that time, in order to fight against Hairu as the practice, he could strengthen his body. The content was to imitate Liangshan Haohan, and eventually formed a opera song. And "Nian" tells the story of Liang Shan Haohan, which is really perfect. Therefore, I first invited Xiamen Jinlian Shengjia Opera Troupe to cooperate together. Like a porter, we moved Gaoga opera to the stage to make new arrangements. In order to meet the general public viewing mode, we made some adjustments to the opera to make it more living and more in line with the appetite of modern people.

Reporter: The interpretation of the entire drama is completed by the drama actor and the high -man actor. Is there a very impressive drama?

Zeng Yonglin: In the high -man drama, the ugly horns are the most unique and unique acts. Therefore, in a play Lu Zhishen pretended to be a woman to tease Xiaoba Zhou Tong, the ugly horn was added, and the actor Wu Boxiang of the troupe played Zhou Tong. In conjunction with Wu Xinjin and Wu Jieye's fun and joy, Zhou Tong made enough attention to the audience like a puppet puppet, so that the audience experienced the unique charm of the ugly corner of the high Jia opera. In the drama, I borrowed the processing method of the Peking opera "Three Chaskou" to show Lu Zhishen and Zhou Tong's fighting in the black light. It is worth mentioning that Lu Zhishen's player Sun Zhiyan is a dancer at the Xiamen Song and Dance Theater.

New form

Tell Chinese mainstream stories through opera

Reporter: Is the first time I tried the cross -border cooperation of opera?

Zeng Yonglin: 然 is inevitable. To present the literary and huge system on the stage of the small theater at about an hour, it is a challenging test for any director. It wasn't until the end of the premiere that I was relieved. When I came to the stage to introduce the actors, the audience spontaneously gave warm applause. I did not expect that local operas in my hometown were recognized by Beijing audiences. This is the charm of opera art.

Reporter: Is there a chance to be staged in Xiamen?

Zeng Yonglin: I especially hope that "Nian" can reach the stage of Xiamen and make it a big show.As a Chinese, you must accept Chinese culture when you learn and learn, just like a seed planted in our thoughts.Over the years, I have even more deeply realized the profound and profound Chinese culture, because in the end you will find that we are not innovation, but only on the basis of previous generations to make it more in line with the characteristics and thinking patterns of the current era.The predecessors we do have been presented very well, and this process is more like a bridge of ancient and present.Therefore, I have always insisted on telling China's mainstream stories through opera.

【Character Business Card】

Zeng Yonglin, a native of Xiamen. After the 90s, the director of the Central Academy of Drama graduated. He is currently a teacher of North China Electric Power University. He has directed Xiamen's first public security real -themed drama "You know I am".

Text/Xiamen Daily reporter Chen Dongtu/Interviewee provided

- END -