Jokingly asked
--Jia Ping
Most of the content of the old Qin opera is based on historical events or historical legends and stories, focusing on the education of life and sophistication, and now the opera has lost its status as an artistic sect, and there are too many channels for people to accept indoctrination. Some of the newly compiled modern new plays are still using the writing method of the old plays, treating the theme as life, the theme first, and the illustration of the policy, which has long caused the audience to be bored, but some of them try to "come out of the new", but they value the philosophy and ideas that are sold, and interpret them with a story, and philosophy and ideas are art? What is the difference between it and the thematic determinism in terms of mindset?
Opera is a freehand expressive art, and to develop abundance must be based on its artistic attributes. The so-called reality of the newly compiled modern life drama is almost all a reproduction of the concreteness of life, such as the treatment of sets and props, so that the dialogue is extremely authentic and spoken, but one move and one style must be programmed, and the singing voice is as elegant as possible. Doesn't this kind of twisting posture and changing tone show ridiculous antics? Since the reproduction of life is contrary to the typical expressive opera of time and space unity, how can the reform of the Qin Cavity be to add drama, song and dance things bluntly? Opera is a comprehensive art, of course, it has literary, fine arts, song, dance, etc., but how do we trace back to its origin, to analyze and study how they are organically combined, and how do these components refine and deform to form expressiveness?
The program is an important form of opera, but the production of the program is the largest generalization and the greatest abstraction on the basis of rich real life. This is like our current idiom, which was originally born with human wisdom, which evoked our greatest associations with the fewest words, and once the idiom has been widely used, it seems that people have only the concept of the idiom and forget the connotation, the idiom becomes a dead thing. It can be said that the old idioms are constantly dying, and the new idioms need to be constantly produced. So, in the face of the program, have we ever asked why these normative actions were formed, why they were formed in this way and not as opposed, and what is its meaning? So, how do we create new programs? Grasping the emergence of new programs also grasps the expressiveness of opera, but do we really understand it?
The thinking established by opera is consistent with Chinese philosophy, ink painting, calligraphy, and traditional Chinese medicine, and when we are almost aware of the program of opera and the "form is the content" and "conscious form" of faces, costumes, props, music, etc., how many people start from opera and combine Chinese philosophy, calligraphy, painting, medicine, architecture to examine the thinking of nature in the sensing universe formed by Chinese? Without this kind of thinking, without the realm generated by the induction of this thinking, but only as a mechanical reflection of the facts, as a kind of coordinated propaganda, how can opera achieve its appearance and its purpose?
Opposing the aristocratization of art is not only its content, but also the question of how to deal with it. Opera originated from the folk, mostly developed by drama classes, and it is of course a remarkable change to go from drama classes to grouping and regularization after the founding of New China. But at the same time, is it also a drawback that comes to our attention? The great boom of the Qin Cavity is the environmental product of the original earthen platform and the market in the wild, people watch the drama to see the drama, but also for the sake of trading, will make friends, eat, drink and have fun, and now the Qin Cavity enters the luxury theater, everything is considered, losing the artistic environment atmosphere it produces, and there is no corresponding change that has been studied, so can the Qin Cavity still produce the previous momentum and charm? Why can't the Qin Cavity in the theater continue to perform now, while the self-music class in xi'an city gate or some parks in some remote alleys is booming again?
An art has its formation, development and maturity of social reasons and unique laws of art, can you say that the Qin cavity has matured, it is a typical Oriental expressive art, and with a delicate program, its qi number is no longer exuberant or harsh will be exhausted? Can we say that while we are trying to revitalize the activities, we should organize our forces to complete the work of a sense of heritage that is excavated, sorted out, and preserved? This is just like our treatment of folk arts such as paper-cutting, horse stakes, shadow puppetry, face sculpture, and pillow flowers in northern Shaanxi, which can only be absorbed and borrowed from other arts. Qin Lu's fate has reached the present, can it be said to be a "potential"?
Think again, when Qin Xiang was still in a private drama class, how many famous characters were produced that made generations of people inexhaustible, and why are there so few such characters now? It should be said that this is the result of survival competition, competition depends on personality, but how many young actors now have distinct and unique personalities? Qin Cavity has not yet formed a real genre, that is, there is a genre, and later it is only said that so-and-so is the heir of so-and-so? Athletes can become excellent coaches after retirement, but good coaches can not only be retired athletes, why not choreographers of opera? (Mr. Jia Pingwa's speech at a seminar, originally published in Contemporary Drama, No. 1, 1991)
Qin Qin Cavity
Modern drama
Qin Cavity
Based on Jia Pingwa's novel of the same name
Screenwriters: Xie Yingchun, Xie Yanchun
Composers: Jiang Yunfang, Zhang Senling
Directors: Lu Luang, Wang Qunqun
Lead actor: Hui Minli
Editor/Liu Jun Review/Yan Wei Final Review/He Jun