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It’s hard to resurrect some dramas after the National Day’s resurrection. 2013-09-26

 

Speaking of the drama, the local drama, many people may feel familiar, and the beautiful luxury scene of "The Wife" will appear in the head. However, do you know what the early dramas looked like? The reporter was informed yesterday that the early stage of the traditional drama of the opera will represent the "seventy-two plays" on the evening of October 8th at the Shaw Theatre to be "resurrected". Have the opportunity to relive the early classics of the drama. Some insiders said that the "Resurrection Classic" is actually facing a severe test. Some of the performances of the beach have been lost for nearly 60 years. The disconnection of talents and the convergence of the characteristics of the dramas have become two "hard injuries" in the process of inheritance. It is reported that the "Seventy-small play" of "Resurrection" on the evening of October 8th featured four representative plays, including "Pull Orchid" and "Double River" for the Qing Dynasty Opera, and "Kangwang Temple" for the Liyuan Opera. "扒Garbage" is a grass flower play. In order to restore the original style of the old play, the props of the show are simple and simple, without complicated lighting design, the accompaniment is the original orchestration, as well as the whistle of the static field, the end playing cards and other old times. Of course, it is not enough to be the original props, and the singing must be old. To this end, Ningbo City Culture and Art Research Institute (also known as Ningbo City Opera Drama Learning Center), the director of the drama drama department, Mr. Wo Xingkang from the old artists - each recorded a sing, let the young actors sing the most original vocals in the rehearsal middle school. But the problem has arisen. These rhythmic arias have not been heard by the old actors who have been from the art for many years. This made some young actors guilty, because the vocal is difficult, and many actors practiced and practiced "halo", tired enough. Wu Xingkang admits that even a professional actor like him feels that the "seventy-two plays" are very difficult. "(There are some plays) - there are more than 100 lyrics in the opening. For example, "Pull Orchid", "Oriental Day" Looking out of the window, I was sitting in the room and I was sitting in front of Wang Fengya. I didn’t do it in the morning, but I didn’t want to be in the embroidered room, plucking the dress and inserting the orchid’, a few words, and the girl’s clear feeling after clearing up in the morning. "The atmosphere of life is very rich." Wo Xingkang also mentioned, "Because the lyrics are rhymed in dialects, there are a lot of vivid and humorous dialects and proverbs used in the dialect, which makes people feel strongly that the Ningbo dialect is both stone-hard. 'There is a local flavor of soft and musical infinite ironing. It is really too difficult to sing and express the character's heart through body language." There is a "generation gap" between young actors and old dramas. This is a realistic portrayal of the inheritance of the drama. Guo Guoqiang, dean of the Ningbo Culture and Art Research Institute, said in an interview that although the drama has made great progress in various aspects such as tunes, music, and beauty, there are also some excellent experiences that are "disjointed." This point - can be reflected in the contrast between new and old actors. Guo Guoqiang said that the current actors are less creative than the old ones, especially in the design of the aria. "Old-generation actors can design their vocals according to their own voice characteristics and the needs of the characters in the drama. But now the actors can't do this--they rely on composing, the basic skills are not solid enough, and they design their own vocals. The ability is also declining." In Guo Guoqiang's view, the past artists - people can play at least dozens of plays, and now few actors can play so many plays, so the stage experience is also very different. "In the past, there was a lot of content that was close to the people and the melody of the melody. Nowadays, the singer is complicated and difficult to learn, lacking the sense of life and the sense of the times. These are all things that need to be improved. They are all about inheriting the drama, but if they don’t inherit the tradition, In fact, how to pass on the tradition?" In fact, the "resurrection" of the "seventy-two dramas" is quite difficult, and some of the beach-spring plays have been lost for nearly 60 years. Guo Guoqiang said, "The drama drama training center has implemented the "smuggling protection project for the old artists of the opera" since last year. We found in the interview that if we don’t save the 'seventy-two plays' in the form of records or materials, then wait for this. When the old artists passed away, these precious texts really disappeared.” The rescue has made some people in the industry applaud, but it has been pointed out that the “resurrection” and inheritance of the drama should avoid “homogeneity”. The director can also play the drama, and the director of the Yue opera can also play the drama. While the major dramas absorb each other's advantages, the phenomenon of 'homogeneity' becomes more and more serious. The drama, which must retain its own characteristics. In the opinion of the people, this performance is of great significance. "Resurrection of the essence of the beach springs that have impressed the old-generation citizens and presented them to the present audience is more conducive to an accurate and in-depth understanding of this bearing. The local operas of Ningbo's cultural memory." ■The nouns explain the seventy-two plays: the introduction of Sutan into Zhejiang, the reeds of the beach, the simple performances and the accompaniment of Huqin. The regional folk art form Ningbo tanhuang prototype. During the Daoguang period, there were professional performers. Since they mainly made some guest appearances in festive banquets and temple fairs, there were a total of 72 plays. This "seventy-two small play" was later used to being regarded as an early representative of the traditional drama of the opera.