On the evening of January 3rd, Changde Han's drama "My Mother is the Key to the Film" was staged at the Ouyang Yuqian Grand Theater in Liuyang, officially debuting on the stage of the newly created large-scale stage repertoire of the 7th Hunan Arts Festival. A ticket is hard to find on the spot, and the number of viewers of the "One Pass Culture" network live broadcast is as high as 510,000, and the wonderful performance has conquered countless audiences inside and outside the venue.
Still.
"My Mother is the Key to the Film" takes maternal love as the main line, and through the improvement of the lives of the characters in the play, it shows the changes in the lives and thoughts of the people in the past 40 years of reform and opening up. It focuses on a series of good policies of the party for rural work, and depicts a new situation in which the rural areas continue to develop and peasants' lives continue to improve. The main creative team is composed of national first-class screenwriter Cao Xiancheng, national first-class director He Yiguang, national first-class composer Chen Ming and other personnel. Peng Ling, winner of the Chinese Drama "Plum Blossom Award" and director of the Changde Han Opera High Cavity Protection and Inheritance Center, starred. At the scene of the performance, all the cast and crew went all out with the most enthusiasm and positive spirit, and the protagonist "Crazy Lady" accurately completed the shaping of the role with his difficult "singing and doing" skills, so that the audience at the scene laughed or secretly wiped tears as the plot advanced, and felt the boundlessness of maternal love and the changes of the times.
Waiting audience.
The scene of the performance.
This drama is an artistic masterpiece carefully created by the Changde Han Opera High Cavity Protection and Inheritance Center with the strength of the whole hospital. The person in charge of the center said that he will take this participation in the art festival as an opportunity to continuously strengthen the protection and inheritance of Chinese opera, strive to create a fine masterpiece with temperature, depth and feelings, and constantly go out to build a new stage for the development of Changde Han opera and push the development of Changde Han opera to a new height.
Wonderful drama review——
The new creation of Changde Han opera
WANG Kui (Director of the Xiqu Research Institute of the China Academy of Arts, President of the Chinese Opera Society)
The Changde Han opera "My Mother is the Key to the Film", performed at the 7th Hunan Arts Festival, is undoubtedly an excellent new creation with a unique personality. The drama is based on documentary novels, and there have been many related adaptations and creations before this, but after the reinterpretation of Changde Han opera, it has radiated an artistic charm with local heritage and drama beauty.
In recent years, most of the realistic theme creations have shown a strong demand for the reality of the times, which has also led to the policy and missionary nature of many new creations often outweighing the artistry. The drama focuses on the emotional world of disabled people, and will undoubtedly observe the many demands of realistic themes that reflect living space. For example, in the play, the people's congress opened the place and said, "I don't want to divide the subtitles of one, two, three, and four to report how I returned to my hometown from a college student to become a village official, how I led the villagers to set up a joint-stock private enterprise with jade lock factory, and how to turn a special hardship village into a well-known top 100 rich village in the country." I just want to share with you my life experience and transformation process. Obviously, when the work adheres to the theatrical creation position of the experience and transformation of "people", it is inevitable to absorb the rural themes, poverty alleviation themes, entrepreneurship themes and other related themes involved in the current realistic themes. Therefore, the play constructs two narrative threads, one is led by the leader of the wang group in the play and the growing "big tree", showing the development and changes of China's rural communities in the twenty years after the reform and opening up, especially in the local culture dedicated to poverty alleviation, and constantly smoking many correct policies of the state (including many realities to help the disabled) and present a social transformation. One is led by the protagonist of the play, Ma Hanyu, from the spiritual fission and emotional repair she experienced in the change of the times and the progress of the community, highlighting the weight of people's spiritual abundance as social progress, as well as the role of finding social conscience and curing mental illness. In particular, Ma Hanyu's physical and mental lesions of waking and madness have become an important weight in looking at society in the foolishness and rational choice, and the bitterness and bitterness of parenting, child care and child help that she experienced from her human instincts has repeatedly reminded people: When society continues to prosper and become rich, do we really pay attention to human growth and really pay attention to the maintenance of human dignity?
Obviously, the playwright Cao Xiancheng has deeply endowed his own cold observation and thinking on real life through the unique image of the mad woman. In the play, from the mouth of the crazy lady Ma Hanyu, he said: "The key, specially unlocked, open the lock of the door, you can shelter from the wind and rain." Open the lock of the window and you can watch the sun. Open the lock on the kitchen and you can cook meals. Open the lock of the hut, you can pull and pee, (pointing to the bump of the key) This is the mountain, this is the river, this is the circle, this is the kan, this is the high, this is the low, this is there, this is nothing, (patting my own chest) I have hung it here, this way is over, this lock, it is open! The "philosophy" presented in these two paragraphs from the "key" is obviously the playwright's life insight extracted from ordinary life, that is, in the case of the crazy woman in the play, it is a sober cognition in madness, which all reflect the playwright's expression of compassion and compassion for people. It is precisely for this reason that in the final scene, the play naturally elevates the care for reality to the indescribable, almost mysterious experience of life, which of course hinders the strength of maternal love in the expression of emotion to a certain extent. Of course, the playwright does not set the climax of the play on the sadness of earning tears, but tries to use the deep ideological dialectic to seek the long afterglow of the play, showing the playwright's deeper social responsibility.
More cleverly, all the plots of the play unfold in the memories of a son who is committed to poverty alleviation work, and the unique life expression of the mad woman Ma Hanyu wrapped in the prologue and epilogue, including the metaphor of "salmon", to highlight the special life in real life, and the absurd existence that unfolds in the family, community and even society. The playwright may be constrained by the requirements of the subject matter in reality and must tighten the development law of real life, but he enthusiastically transmits the pen and ink more fully into this subject matter enough to trigger the ideas, emotions and individual will expressed in the drama, which allows the vivid and profound image to transcend the shackles of real utilitarianism and enter the creation of the freedom of drama.
Therefore, the play creates a "drama" that is more in line with the unique "drama" of the second clue, fully stretches the "performance" of the mad woman, and makes the full stage performance more artistically sublimate the expression space of the realistic theme. The director of the play, He Yiguang, fully controls the multi-drama means such as music and dance, service and Taoism, to refine the ethereal stage form, not only to make the necessary positioning and dot dyeing of the national policies and social progress pointed to by the realistic theme, but also to focus on the unique growth and changes of "people" in the play, so that the character relationship and the creation of the character image can be fully explored, thus circumventing the limitations and deficiencies often encountered in the creation of current realistic themes, and presenting the creation and discovery of "people". This artistic technique eventually created the special image of the mad woman Ma Hanyu.
Obviously, Peng Ling's performance responds to the artistic positioning of the screenwriter and director on this subject, and when adhering to the requirements of the realistic technique of modern drama based on the rhythm of life, the opera performance of the Dan actor is deeply and mellowly blended into life, and at the same time, it is more artistic and more stylized to create the personality language belonging to the mad woman. The crazy woman in the play is an intermittent mental madness patient, this "intermittent" is not to let the actor grasp the physiological state of the character suddenly awake and crazy between normalcy and perversion, otherwise it will make the audience question whether the crazy woman's expression is normal or crazy at any time. "Intermittent" is actually a critical point that requires the actor to find two completely different life states that can be transformed instantaneously, and this "point" gives the protagonist a unique body language, so as to control the unique temperament and texture of the characters with a stable performance state. This is the sense of stage proportion and performance control that many outstanding performing artists have been looking for for many years in order to create a vivid artistic image, which is actually the "key" for opera to open up actors and roles during stylized training and artistic performance. Peng Ling had apparently found the key. In the traditional Chinese opera, she skillfully controlled the art of boudoir, qingyi, knife and horse, as well as the high cavity, bullet cavity and other vocal cavities, singing and watching and other artistic means applied in many works with different textures, and even absorbed the skills of the life, ugly and other professions, all of which have become an important means for her to find the uniqueness of the character image of the mad woman, and the kind of means that are not complicated and mixed have been used to extract the expression of the personality of the crazy woman.
In her life posture, Peng Ling uses exaggerated movements to make the character of the mad lady present a behavior that is different from ordinary people, which may be the reinforcement of the opera program, but it is a special and constant personality action of a specific madman who is different from ordinary people. For example, the "playing with the pearl" program represented by the key necklace, the traditional water sleeves and long silk techniques led out by the red scarf, and so on. In particular, she crosses through the rapid leap of high and low tones in singing, through the instantaneous transformation of sad and joyful emotions in her expressions, through the dot dyeing of techniques such as fixing the mind and stagnant eyes in the eyes, and mixing stiff and mechanical body language into the life avatar section, and so on, all of which make the image of the mad lady alienate the normality of life and have a physical and mental perversion.
In the first scene, in order to present the state of the crazy woman "crazy" in the first place, Peng Ling boldly uses the exaggerated twist of the back to form the physical difference between the two women of the mother-in-law and daughter-in-law. When she understood that the bowl of rice thrown by her mother-in-law was actually to make her leave her son and family forever, the script had several important action hints at this time: "Ma Hanyu stared at the rice in the bowl on the table in a daze, a long sob, tears gushing", "Ma Hanyuhuo stood up, shouldered his baggage and strode out of the door, suddenly stopped and turned, looking at the child in his grandmother's hand", and then "suddenly rested in the ground", "Ma Hanyu sneaked past, snatched the child from his grandmother's arms and turned around and ran", these quick succession of actions, Of course, it embodies the psychological rhythm of the crazy woman in a specific situation, but in Peng Ling's performance, she has been a "crazy person" with a neurotic personality temperament, and in the expression of emotional ups and downs and actions, it shows her unique frankness, recklessness and straightness. The kind of opera literary prompt that cannot quickly show the characteristics of madness, through Peng Ling's performance, has become a vivid action logo of a "madman". In particular, the third scene, through the four scenes of spring, summer, autumn and winter, concentrates on showing the four moods of the mad woman in ploughing the field, washing, teasing her son, and watching the moon, and uses humorous and exaggerated art scenes to show that the crazy woman does not understand the common sense of life and can face the worldly human feelings in a simple and stoic manner. When the husband and wife ploughed the field, Peng Ling used her large open and closed limbs to show the exaggerated mood of the cow and horse plough; when amusing her son, she used the traditional "playing with the su zhu" formula, and highlighted the crazy woman's expression ability from ordinary people in the difficult prop performance skills, which was different from the funny behavior of the crazy woman who violated common sense when she went into the water to throw clothes and looked at the moon in the pool, and together showed the way of thinking that transcended ordinary people's experience and had obedience to normal words and deeds, thus completing the action logic of "crazy people" in the instantaneous variation of speech and body. At the same time, it also reminds the audience to enter the personality positioning of this "crazy person" at any time.
From the appearance to the end of the whole play, Peng Ling's performance has always been with strong control, with the action and verbal logic of the "madman", and steadily grasped the constant texture of the image. This kind of performance of personalizing personality into normality has obviously successfully completed the creation of the crazy lady Ma Hanyu, and also transformed a text full of philosophical expressions of playwrights from the standpoint of stage performance into a stage text with allegorical personality, but also in line with the position of realistic performance, so that performing arts can avoid the trivial content of realistic themes in audiovisual impressions and become artistic masterpieces that can be tasted.
It is worth mentioning that at the climax of the plot of the play, the composer, in response to the literary expression of the play poem "Eighteen Years", created a complete set of bullet cavity [anti-erhuang] plate style, using the [guide plate] to turn [Huilong], then [slow three eyes] to turn [anti-second stream], [clear board] to "one word board", in the depressed emotional tone, delicately and euphemistically rendered the various feelings of the mad woman after hearing her son shout out "mother". Before and after this important core singing section, the composer consciously uses the high cavity and the bullet cavity as a means of expression of the personality of the characters, and uses two vocal cavities to distinguish the gap between the crazy woman and the ordinary world. Ma Hanyu, who has long been denounced as a madman, basically used a high cavity to express his heart before this, and a moderate helper brought about the double expression of the spiritual world, and even the communication between husband and wife in the same state of disability also used high cavity-based singing. After the mother and son eliminate the emotional distance between each other, they basically use the bullet cavity to strengthen the crazy woman's emotional equivalent to the humanistic stance of ordinary people, and at the end of the play, the high cavity and the elastic cavity are intertwined, and together present the full and sufficient spiritual world of the crazy woman. This artistic treatment of the vocal cavity allows the crazy woman's emotional space to be released to the greatest extent. And Peng Ling's free expression of Changde Han opera vocal cavity singing, accurately using the beauty of Changde Han opera vocal cavity, will be the crazy woman, which may be ugly in reality, to the realm of artistic beauty. Of course, this also allows the image of the mad lady, compared with ordinary people such as mother-in-law, son, and wang group leader who generally uses bullety lyricism, to obtain the unique strength of the expression and show the unique personality of the image.
Through Peng Ling's successful creation of the mad woman Ma Hanyu, it can be seen that the leading artist of Changde Han opera has given a new artistic charm to Changde Han opera with the joint efforts of the main creative team such as screenwriter and director, which can be called "textbook" performing arts, and there is no doubt that Changde Han opera "My Mother is the Key to the Film" has also become a representative masterpiece of the current realistic theme opera highlighting high-quality innovation through performing arts. This also reminds today's Xiqu Theater Troupe that when excellent performing artists create mature stage images, they need the overall follow-up of the art team in the practice of skills and artistic concepts. An excellent work of art must be because the work records the times and records the excellent creation of a generation of artists, and constantly promotes the continuous accumulation and creation of drama art.
Reporter: Xu Zhixiong Correspondent: Zhou Jingwen/Photo
Editor: Wu Ting
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