A few days ago, the 15th "Study party history, transmission of classics, and promotion of new works" reading salon series of theme reading activities sponsored by the Guangzhou Municipal Federation of Literature and Literature was held online. Luo Li, a national first-class screenwriter and vice chairman and secretary general of the Guangzhou Literary and Art Critics Association, focused on her personal academic monograph "Research on the Development Path of Opera and Film and Television in the Guangdong-Hong Kong-Macao Greater Bay Area", with the theme of "Evolution of opera transmission path in the Guangdong-Hong Kong-Macao Greater Bay Area", introduced the deep connection between Cantonese opera, a classic art form in Lingnan, and regional cultural traditions, and sorted out the historical evolution of the transmission path of Cantonese opera.
Published by China Drama Publishing House in January 2021, the book "Research on the Development Path of Opera Film and Television in the Guangdong-Hong Kong-Macao Greater Bay Area" is Luo Li's third monograph on Cantonese opera films after "The History of Cantonese Opera Films" and "Extension and Gaze: A Review of the History of Cantonese Opera Film Development". The book was established and published as a "Major Project of National Social Science Art Studies", which conducts multi-level research and discussion on the origin of Cantonese opera in the cultural context of Lingnan culture and the Guangdong-Hong Kong-Macao Greater Bay Area, the art of Cantonese opera script, and how Cantonese opera film and television culture "stores" skills and "continues" memories on different carriers.
How does the "space of existence" of Cantonese opera evolve?
From the perspective of communication, the history of the development of Chinese opera is the history of the use of different media for the dissemination of opera art. Luo Li believes that in addition to the stage art ontology of Cantonese opera, through the new changes in the viewing space and communication media, the communication path of Cantonese opera continues to evolve, thus generating the "existence space" of Cantonese opera.
She further explained that from the perspective of religious function, ethnomusicology regards the performance of divine opera in front of the temple shrine as the "primitive occasion" for opera performance, such as the outdoor theater, and the various performance occasions formed in the city can be regarded as "transformation occasions" that occur with the development of opera, such as theaters and theaters. Since then, with the change of material communication media, including the printing and publication of scripts, newspapers and periodicals, and the production of records and films, Cantonese opera has been mass-produced and disseminated. The viewing relationship, perception and reception mode, viewing (reading) occasion, and communication channel have undergone obvious changes: from a single public stage performance with audiovisual experience to an audiovisual experience scattered in multiple private viewing places, time and space have been compressed.
The evolution of the communication path of Cantonese opera is not a simple relationship of replacement and substitution, but the continuous superposition and mutual compatibility of emerging communication forms. Luo Li concluded, "As a classic art form of Cantonese opera in the Guangdong-Hong Kong-Macao Greater Bay Area, over the past hundred years, through the innovation of different viewing spaces and different communication media, it has not only recorded the inheritance and development of Cantonese opera performing arts, but also continued the bloodline of Cantonese opera as a regional culture, and realized the integrity and innovation of excellent traditional culture. ”
Show the practical character of Cantonese opera films that are honest and innovative
In recent years, the success of Cantonese opera films such as "The Strange Adventures of Liu Yi" and "The Legend of the White Snake" has written a strong stroke for the contemporary practice of Cantonese opera films in the Guangdong-Hong Kong-Macao Greater Bay Area. At the event, Luo Li summarized the experience and enlightenment brought by these excellent works.
She believes that in the long run, it is necessary to take the publicity and distribution of opera films as the focus of promoting the dissemination of opera, integrate distribution channels such as urban theaters, rural theaters, digital theaters, mobile media, new media, and the Internet, create an IP industry chain for publicity around the repertoire and the production of derivatives, and build a special platform for the publicity and distribution of opera films.
Luo Li said that only when xiqu films truly enter the market, have a mature and stable audience group and an effective box office, can they activate the inherent strong vitality of xiqu films, realize the excavation and elaboration of China's excellent traditional opera culture with the dissemination of movies, and truly show the practical character of 'shouzheng innovation' in opera films in the new era.
Written by: Nandu reporter Xu Xiaolei intern Ren Ziwei
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