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The beach spring "seventy-two dramas" reproduce the stage. This is not a nostalgia, but a reflection. 2013-09-26

 

"Pull Orchid" "Kang Wang Temple" "扒 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 》 The "Seventy-small play" of the beach spring is a rehearsal of the early performances of the opera, but it has disappeared into people's sights. Even the elderly pipa performers rarely see one of them. On October 8th, Ningbo Academy of Arts will bring four small plays to the stage. Blowing whistle, playing cards, and lighting... These scenes in the early years of watching the drama will be re-emerged, giving the audience the feeling of being in the beach-spring scene 100 years ago. Of course, this is by no means a simple collective nostalgia, but a profound reflection on how the dramas retain their own characteristics. The "Seventy-small play" of the beach spring was regarded as the early representative of the traditional drama of the opera. Before 1939, the main performances of Ningbo Beach Spring in Shanghai were these repertoires. The four small plays of this performance are selected from the different types, representing the different types of "seventy-two small plays", "Pu Lan" and "Shuangtouhe" for the Qing Dynasty opera, "Kangwang Temple" for the Liyuan Opera. "扒Garbage" is a grass flower play. If it is a viewer who is pursuing visual impact, I am afraid I will be disappointed with this performance. Because this time, from stage design to performance style, it is a return to the performance of the past beach spring, there is no luxury props, no complicated lighting, it can be said that "pure, simple, grassroots" is its characteristics. Not only that, the City Academy of Art will also restore the scene of watching the show. If you compare this performance to a table of "home cooking", then in addition to the "main dish", that is, the performance returns to the tradition, even the "dishes" - the "small movements" of the performance gap is also "quasi", such as Blowing whistle, playing cards, playing lights, and actors wearing long gowns. In this regard, Guo Guoqiang, president of the Municipal Academy of Arts and Technology, applied a sentence in the cultural relics circle, that is, "repairing the old as old." This kind of regression is not a simple restoration. Wu Xingkang, director of the drama drama department, told the reporter that the actors sang the most original vocals. "These melody vocals may not have been heard by the old actors who have been from the art for many years." However, try to keep the beach spring On the basis of the original appearance, "we also cut down on the content, and removed the low-level interest, and then satisfied the aesthetics of modern people." Then, in the current fashion and trend of many operas, the city art research Why did the hospital go "back to the road" in such a way? Guo Guoqiang said with a smile: "Resurrection of the disappearing traditional drama" is to hope to gain inspiration and gain from it." "If the drama is to develop, it must be innovative. However, if you go too far on the road of innovation, the traditional The essence will also be lost." Guo Guoqiang told reporters that the phenomenon of homogenization in the drama industry is now more serious. Some people have issued such a sigh: Nowadays, how many dramas are a "face"? "Now they are pursuing big productions, and they are always on the go. The frequent exchange of talents has also brought the drama into such a dilemma: it absorbs the advantages of different types of dramas, but at the same time, its own characteristics are constantly disappearing." Guo Guoqiang There have been such confusions. "We are afraid of being old-fashioned, but while constantly innovating, it blurs what is the best traditional feature of the drama." In fact, this is not just the concern of Guo Guoqiang alone. There are also scholars in the drama world. Voice: "Does the modernization of opera become a trap to bury traditional opera?" How to get rid of this trap? It is exactly what every opera person needs to think about. In Guo Guoqiang's view, this requires a new understanding and rediscovery of traditional opera. In fact, this show is just the beginning. What experience should the Chinese opera learn from the tradition in the development process? What should be done in the drama to make it more manifest itself? And in the period of cultural pluralism, how should we preserve these traditional cultures that are colorful and fascinating? For these questions, those who care about the drama may be able to gain important revelation from the non-small play of this show.