"The inheritance of Chinese opera in art is first of all the recognition and inheritance of traditional Chinese culture, if there is no traditional culture as the foundation, its opera creation is the water without a source, the wood without a root, it is difficult to become a fine masterpiece that can be left behind and passed on." At the third "Shenzhen Vocal Music Season • China Vocal Summit Forum" held recently, Lei Jia, singer, vice chairman of the Chinese Music Association and doctoral supervisor, put forward such views.
Since the opening of the third "Shenzhen Vocal Music Season" on July 25, it has attracted much attention from all walks of life. At the same time, various courses and competitions are also in full swing. At the same time, on July 27, the third "Shenzhen Vocal Music Season • China Vocal Summit Forum" was held in Shenzhen, bringing together many well-known experts and scholars in the Chinese music industry. Taking "from the classroom to the stage" as the scope and "cultivating talents in Chinese opera" as the starting point, everyone focused on the shaping and cultivation of high-end practical vocal talents, providing a global vision for the cultivation of contemporary Chinese vocal talents.
The inheritance of Chinese opera should take traditional culture as the foundation and do a good job in spiritual inheritance
"What kind of world outlook to establish, what kind of methodology to adopt, and develop Chinese vocal music are issues that we need to continue to think about." At the forum, Composer, Dean of the China Conservatory of Music, and doctoral supervisor Wang Liguang took the lead in throwing out the topic of how Chinese vocal music develops and continues.
As the artistic director of the "Shenzhen Vocal Music Season • China Vocal Talent Training Program", Lei Jia shared the experience of "the inheritance of Chinese opera and the comprehensive quality of young actors" at the forum. She believes that Chinese opera is based on the profound heritage of traditional Chinese culture, and at the same time draws on many performance techniques of Western opera, and is a highly comprehensive art form that combines the strengths of all the masters. Chinese audiences have long been nourished by traditional Chinese music, national opera is deeply rooted in traditional Chinese culture, developed on the basis of opera and folk songs, so the role shaping on the stage should be both form and spirit, so the actors are required to have both singing, but also to integrate the performance of the body and a large number of lines of the recitation, in the singing, reading, doing, playing, hands, eyes, body, law, steps must be prepared, and actively call their own skills to better serve the role.
The second is about spiritual inheritance. Lei Jia said that General Secretary Xi Jinping's speech at the forum on literary and art work once mentioned: "All the literary and artistic works that have caused a sensation at that time and passed down to future generations reflect the requirements of the times and the voice of the people. This requires that when inheriting such plays, we must not only grasp the essence artistically, but also deeply understand and deepen the identification in the spiritual connotation, and accurately convey the image of the great spiritual figure to the audience by artistic means. At the same time, it is also necessary to be honest and innovative, and the most important premise for actors is to keep right, take over the experience and painstaking efforts of the predecessors, internalize them into their own understanding and expression, and then pass it on. Because Shouzheng is not only to keep the classic repertoire but also to keep the role, but also to keep the trust and entrustment of the predecessors.
Young talents should not be imprisoned and strive to enhance their comprehensive personal cultivation
What qualities should young talents have now? Experts and scholars have given different suggestions and opinions. Professor Chen Wei, director of the Performance Teaching and Research Department of the China Conservatory of Music, believes that to become a qualified opera performer, you must go through three exercises: "strict and scientific vocal training, rigorous opera performance training, and harsh stage training." Li Xincao, conductor and deputy director of the China Symphony Orchestra, also affirmed the importance of "diligence" for young talents, "A successful artist requires two 100%, 100% talent and 100% effort." ”
Sun Yan, singer and president of Fujian Opera and Dance Theater, analyzed from the perspective of the academy and the college, "The cooperation between the troupe and the school and the function are very critical to the future development of vocal music students." Singers Wang Hongwei and Shi Yijie warned everyone from the aspect of art and morality, "We must cultivate opera performers in the new era with a sense of social responsibility and family and country feelings" and "young people must resist temptation and have an overall plan for their careers, so that they can flow for a long time."
Lei Jia believes that young talents should not be imprisoned by singing methods first. "Whether it is national, bel canto or popular, it is based on the work, to express the work as the ultimate goal, what kind of expression the work needs to use what kind of singing, it may be single, but more often it should be integrated."
"The second is to enhance personal comprehensive cultivation." As Chinese vocal talents, we must always remember that singing is the art of language, and Chinese opera should convey the spiritual values recognized by Chinese in a chinese language and an acceptable expression that Chinese can be used. Therefore, opera singers have always been rooted in the fertile soil of traditional Chinese culture, taking traditional music as the source of their performances, and constantly drawing energy from it. Only in this way can we use accurate language and performance to highlight the Chinese style and Chinese style in the works, and finally express the Chinese characteristics contained in Chinese opera. Lei Jia said.
Singer, Vice Chairman of the Chinese Music Association, Doctoral Supervisor, Artistic Director of "Shenzhen Vocal Music Season • Chinese Vocal Talent Training Program"; Composer, President of china Conservatory of Music, Doctoral Supervisor Wang Liguang; Theorist, Chinese and Foreign Opera History Researcher, Music Critic, Doctoral Supervisor Ju Qihong; Composer Yin Qing; Theorist, Professor of Shanghai Conservatory of Music, Doctoral Supervisor Xiao Mei; Conductor, Vice Chairman of China Music Association, Deputy Director of China Symphony Orchestra, Visiting Professor of the Conducting Department of the Central Conservatory of Music, China Conservatory of Music, Master tutor Li Xincao; director, performance educator, director and professor of the performance teaching and research department of the China Conservatory of Music; Singer Wang Hongwei, vice president of Tianjin Conservatory of Music and doctoral supervisor; Singer, professor of Hunan Normal University and distinguished professor of China Conservatory of Music Shi Yijie; singer and dean of Fujian Opera and Dance Theatre Sun Yan; Zhang Meng, special host of this forum, music critic and deputy editor-in-chief of "People's Music"; and more than a dozen experts and scholars attending the forum attended the forum and made speeches. In addition, Liao Changyong, a singer who could not attend the scene due to his work, vice chairman of the Chinese Music Association, dean of the Shanghai Conservatory of Music, and doctoral supervisor, attended the meeting through video speech. It is reported that this year's "Shenzhen Vocal Music Season • China Vocal Talent Training Program" will continue until August 6.
Courtesy of the organizer
Author: Jiang Fang
Editor: Wang Xiaoli