As the finale of three classic plays of Beijing Renyi, and also the opening work of The Cao Yu Theater of Beijing International Theater Center, the new version of "The Wilderness" directed by Yan Rui and starring Zhang Keying, Jin Han, Fu Yao and Lei Jia has been officially performed since November 30, and the author has the honor to be the first audience to enter this new theater with profound heritage and see the new style of the classic.
Regarding "The Wilderness", there is no need to dwell on itself, this is a more special one among Mr. Cao Yu's many masterpieces, the length is not long but the energy is huge, in the limited stage time and space, condensing the multiple entanglements of family, love, ethics, and gender, and lifting the darkness and fog that have shrouded thousands of years on one side of the water and soil. The dead but seemingly ubiquitous Jiaoyan King, the cold village, the pale land, the forest that cannot be walked out, the roaring train, constitute a labyrinth of human nature. In the play, people repeatedly tear between pain and pleasure, confinement and breakthrough, and the audience will also feel the dramatic shock of the terrifying waves.
The new version of "Wilderness" in addition to allowing the classic to replay The Glory, but also released the signal of continuing to strengthen the strength to cultivate the new strength of Chinese drama, the all-round new generation of actor Yan Rui this time focused on the behind-the-scenes director, Zhang Keying just graduated in Chinese opera this year, with the first place in the results of the entrance to renyi, and then the first time on the stage of renyi was entrusted with heavy responsibilities, at the age of 24 to become a new generation of human arts heroines, but also the third generation of liu Xiaoqing, Xu Fan to spend gold. Similarly, the new version of "Qiu Hu" Jin Han, "Jiao Mu" Fu Yao, "Chang Wu" Lian Xudong, and "White Fool" Wei Jiacheng are also young actors in their thirties, who may not be as calm and condensed as the previous actors, but show the aura and vitality of a new generation, as well as many remarkable highlights.
The most noteworthy is Zhang Keying. She plays Hua Jinzi, the soul of the whole play, but also a very challenging and complex role, she combines spicy, intelligent, cute, forbearing, rebellious in one, is a victim of the old ideas of the decadent era, with strong vitality and awakening consciousness, and finally break the shackles of feudal marriage, flee with Qiu Hu, and convey a strong spirit of resistance.
Flower gold, like a wildflower in the field, is both weak and tough, suffering from cold and bitter wind and frost. To play a good flower of gold, do not suffer hardships, forcibly switch between a variety of extreme emotions, great love and hate, great joy and great sorrow, are commonplace, but also need to deal with intricate contradictions and conflicts, how to face the incompetent and cowardly husband, vicious and terrible mother-in-law, personally experience a killing. To perform these plays well, it is tantamount to tearing yourself up and stitching them up repeatedly, and Zhang Keying has "carried" it over and carried this hellish impact. Of course, there are factors that the newborn calf is not afraid of the tiger, and the character of not accepting defeat plus Buff, but more comes from the ability to understand the drama, the ability to control the scene, and the line kung fu, which are indispensable. It can be seen from this that there are two points, first, Zhang Keying's identity as a Chinese opera bully is not vain, and second, renyi is really a must in cultivating talents.
Zhang Keying's version of the gold not only completed the task, the treatment of some classic bridge sections is also very brilliant, for example, when sending her husband Jiao Daxing out, she gave him the classic sending proposition, the two people fell into the river at the same time to save who to save first, had to coax each other to say "drown my mother", a very simple bridge section, issuing a hot hope for life, even if life is twilight, lively and aggressive nature will not be extinguished. In this scene, Zhang Keying opened a breakthrough for the whole tense and solemn atmosphere through vivid body language and line skills.
Hua Jinzi is a polyhedron, insisting on letting Qiu Hu help him pick up flowers, which is a wayward and unruly side; in the panic, he can also pretend to chant the scriptures to deceive Chang Wubo, and is a cunning side; afraid that the matter of Qiu Hu's hiding in the house will be exposed, kissing the idiot in front of his mother-in-law, and later confronting his mother-in-law, talking and swording, and has a desperate decision. There are many wonderful scenes like this, witnessing the tragedy of Jiao Daxing and the child, the train is in front, but to part with Qiu Hu, each one has a huge emotional impact, and compared to driving these, what is more rare is that Zhang Keying also performed some heavy and light inner dramas, shouting at Jiao Daxing", shouting "I love you, I hurt you", releasing a lot of emotions, after being slapped by her husband, there was a sudden cold silence, forming a series of changes of guilt, sadness, hatred, discouragement and then relief, which was natural, It is as if Zhang Keying on the stage is no longer a simple interpreter, but a soul who has truly incarnated into a flower of gold, struggling and shouting above the field.
In fact, if you put the flower gold into the thinking of modern women, what she does is not difficult to understand, women in each era have different dilemmas, and what remains unchanged is the determination to break through the predicament and the desire for a new life. Hua Jinzi is only wrongly married to an incompetent husband, meets an ugly mother-in-law, women of any era have the right to act and escape from this unfortunate marriage, Cao Yu is a symbolist method, the struggle of Hua Jinzi is magnified to the extreme.
Therefore, Zhang Keying, who was born in 1997, can also deeply understand and successfully interpret this work created in 1937, proving that good drama does not fade with the passage of time, and good actors can make characters travel through time and space.
Perhaps in the past few years, in the eyes of many people, Zhang Keying has always carried the label of Zhang Kaili's daughter, and will inevitably be prejudiced to think that the second generation of stars has good genetic blessings, and will also be preferentially treated by the industry, and success is also natural, but the fact is that many second generation stars have not enjoyed their success, but have continued to move forward through their own talents and efforts. Zhang Keying is like this, in 2015, she scored 577 points in the college entrance examination, and was admitted to the Chinese Opera, Shang Opera, Shangyin and Hong Kong Academy of Performing Arts at the same time in the art examination, and in 2017, because she realized the importance of her mother tongue to acting, she dropped out of the exam in Hong Kong and re-examined, and was admitted to Chinese opera with the first result in the cultural class. Everyone understands that behind this achievement is not only talent and aura, but also long-term strict self-discipline and hard work to do it.
If the youthful and beautiful Yu Miaomiao in "I Only Like You" and the maverick little cotton jacket in "The Old Tavern" prove that Zhang Keying's performance road can be expected in the future, then this time the new version of the drama "Wilderness" proves that she has stepped into the palace of art with one foot, and can play the starring role in the drama of human art, which is a lucky and unattainable luck and a certification of strength.
On the stage of "Wilderness", Hua Jin crossed the misty black forest, and on the road of performance, Zhang Keying had just set off, and it was believed that she would prove herself as a piece of "gold" that was sharpened and shiny with continuous works.