Since the opening of the 17th China Drama Festival, it has not only become an exhibition stage for outstanding plays in the country, but also a communication platform for the discussion of drama theory. After the successful holding of the "17th China Drama Festival • Chinese Theatre Directors Art Summit Forum", on October 19th, the "Shouzheng Innovation - The 17th China Drama Festival • Chinese Theatre Performing Arts Summit Forum" hosted by the Chinese Dramatists Association, wuhan Municipal Bureau of Culture and Tourism and the editorial department of "Chinese Drama" was held in Wuhan. This is also a series of promotions following the 16th China Drama Festival "Drama Script Creation Summit Forum" and "Opera Music Creation Summit Forum".
Leaders attending the forum included Liao Ben, honorary chairman of the China Writers Association and adviser to the China Drama Association, Pu Cunxin, vice chairman of the China Federation of Literary and Literary Circles, chairman of the China Drama Association, and drama performance artist, Chen Yan, secretary of the party group of the China Drama Association and vice chairman of the conference, Yin Xiaodong, vice chairman of the China Drama Association and president of the China Academy of Opera, Feng Yuping, vice chairman of the China Drama Association and critic performance artist, Li Shujian, vice chairman of the China Drama Association and Yu opera performance artist, Yang Fengyi, vice chairman of the China Drama Association and Kunqu performing artist, and Yang Fengyi, vice chairman of the China Drama Association. Mao Weitao, a Yue opera performance artist, Liu Ping, vice chairman of the China Drama Association and a Qin cavity performance artist, Han Zaifen, vice chairman of the China Drama Association and Huangmei opera performance artist, Xie Tao, vice chairman of the China Opera Association and a Jin opera performance artist, Cui Wei, member of the party group and secretary general of the China Drama Association, and Xue Changxu, member of the party group and deputy secretary general of the China Drama Association.
Liao Ben, honorary chairman of the China Writers Association and adviser to the China Drama Association
Pu Cunxin, vice chairman of the China Federation of Literary and Art Circles, chairman of the China Drama Association, and drama performance artist
Chen Yan, secretary of the party group of the China Drama Association and vice chairman of the association
Feng Yuping, vice chairman of the China Drama Association and performing artist of the Opera Critics
Li Shujian, vice chairman of the China Drama Association and Yu opera performance artist
Yang Fengyi, vice chairman of the China Drama Association and Kunqu opera performance artist
Vice Chairman of the Chinese Drama Association and Yue Opera Performing Artist Mao Weitao
Vice Chairman of the Chinese Drama Association and Qin Cavity Performance Artist Liu Ping
Vice Chairman of the China Drama Association and Huangmei Opera Performing Artist Han Zaifen
Xie Tao, vice chairman of the China Drama Association and Jin opera performance artist
Cui Wei, member of the party group and secretary general of the China Drama Association
The guests attending the forum were Wang Shaojun, director and professor of the performance department of the China Academy of Performing Arts (in alphabetical order by surname), Wang Xiaoping, president of the Zhejiang Wuqu Art Research Institute, Wang Kui, director and researcher of the Xiqu Research Institute of the China Academy of Arts, Bai Yansheng, director and professor of the Bai Yansheng Xiqu Research and Communication Center of Shanxi University of Media, Sun Huizhu, professor of the Shanghai Theater Academy, Chen Xiaoduo, soloist and first-class actor of the Opera Troupe of the China Opera and Dance Theatre, and Song Baozhen, director and researcher of the Drama Research Institute of the China Academy of Arts. Jin Man, Dean of the Opera Research Institute of Peking University, Shan Wen, a first-class actor of the Kun Opera House of Jiangsu Performing Arts Group, Hou Yansong, a first-class actor of the National Drama Theatre of China, Shu Tong, director of the Peking Opera Department and professor of the China Academy of Performing Arts, and Cai Zhengren, a Kunqu performing artist, are all in the same place.
In addition, the experts of the critics of this year's drama festival, the students of the Young and Middle-aged Frontline Dramatology Backbone Workshop of the China Dramatists Association (Wuhan) and the leaders of relevant parties in Wuhan attended the forum as observers. The opening ceremony of the forum was presided over by Cui Wei, member of the party group and secretary general of the China Drama Association.
Professor Wang Shaojun, Director of the Performance Department of the China Academy of Performing Arts
Wang Xiaoping, president of Zhejiang Wuju Opera Art Research Institute
Wang Kui, director and researcher of the Institute of Opera of the China Academy of Arts
Professor Bai Yansheng, director of the Bai Yansheng Xiqu Research and Communication Center of Shanxi University of Communication
Professor Sun Huizhu of Shanghai Theater Academy
Chen Xiaoduo, soloist and first-class actor of the Opera Troupe of China Opera and Dance Theatre
Song Baozhen, director and researcher of the Drama Research Institute of the China Academy of Arts
Jin Man, Dean of the Academy of Opera studies at Peking University
Shan Wen, a first-class actor of Kun Theater of Jiangsu Performing Arts Group
Hou Yansong, a first-class actor at the National Theatre of China
Professor Shu Tong, director of the Peking Opera Department of the China Academy of Performing Arts
Kunqu performance artist Cai Zhengren
Pu Cunxin, vice chairman of the China Federation of Literary and Performing Arts, chairman of the China Drama Association, and drama performance artist, first delivered a speech, saying: "On the occasion of the centenary of the founding of the Party, it is timely to hold the China Theater Performing Arts Summit Forum. The forum brought together artists, experts and scholars from various fields, including literary and artistic workers from drama, opera and local dramas. I believe that the theoretical construction of performing arts is the topic that we should pay the most attention to. Actors are the core of stage art, and the improvement of actors' professional abilities is crucial. Therefore, we must improve the quality of performance and live up to the expectations of the party and the people and the times for the performing arts. We must work the basic skills of performance, work the spirit of creation, strengthen cultural self-confidence, and maintain the dignity of the performance industry. ”
The forum lasted for one day, and the participating experts discussed and exchanged views on topics such as "building a Chinese theater performance system", "talent training and market trend", and "integrity and innovation of Chinese theater performance". In the afternoon group exchange dialogue session, the participating experts spoke freely and sincerely on the sub-topics of interest to them. The forum was presided over by Pu Cunxin, Yang Fengyi and Mao Weitao.
Establish a sense of consciousness and strengthen theoretical construction
Mao Weitao believes that the study of performance theory must be based on scientific truth-seeking, on the basis of excellent texts, secondary creation and "effective performance". Whether it is theoretical construction or artistic creation, we must pay attention to the times.
Liao Ben expounded his thinking on the concept of Chinese theater performance system, believing that the Chinese theater system should include all theatrical styles on the Chinese theater stage. He appealed that the theoretical circles should sink their hearts, conscientiously sum up the laws of theater performance, and explore the future development direction.
Cai Zhengren stressed that the performance program of opera is composed of "singing and doing fighting", and "singing and reading" is the core element and the most fundamental skill of the actor. He believes that to innovate the development of opera, it is necessary to study the aesthetic tendencies of the audience and avoid making cars behind closed doors.
Combined with his creative practice in recent years, Xie Tao shared a three-point understanding of the performing arts of opera: first, we must adhere to the unity of innovation and tradition, second, we must pursue the unity of professional skills and roles, and third, we must pay attention to the unity of the ideas and reality of the works.
Focusing on the performance problem between drama and opera, Sun Huizhu listed five types of examples of mutual learning and mutual learning between the two, pointing out that theater performance can break through inertial thinking and explore broader development prospects.
Hou Yansong summed up the three key words of drama performance: "transformation", drama should absorb the nutrients of opera and turn it into their own use; "jue", actors should be diligent in practicing exercises and enhance artistic awareness; "teaching", teachers should strengthen guidance and help students become materials.
Wang Kui believes that the performing arts of opera have three characteristics: one is oral, paying attention to oral transmission; the other is technical, paying attention to the skills of the gongfa; the third is creativity, on the basis of abiding by the norms. From mouth to heart, the structure of the three is complete, forming a performance system of opera.
Kingman believes that opera is a musical drama based on singing, so opera singers must have considerable singing skills, so that the audience can see the picture from the actor's voice, which is an artistic realm that needs to be achieved by hard work.
Song Baozhen pointed out that learning from the Si system has improved the level of Chinese drama performance art, but it is not enough to emphasize the inner experience and ignore the performance of external actions. Actors should improve their self-cultivation and conduct, and the team should respect and trust each other.
Chen Xiaoduo pointed out that opera, a highly comprehensive art form, requires the actor's performance to be multi-dimensional in terms of output, perspective and vision, and diverse in means, style and quality, so as to create excellent works that conform to the laws of life and art.
Bai Yansheng proposed that the inheritance and dissemination of performance cannot be separated from the following seven aspects: one is the audience and the market; the second is the partner; the third is the troupe; the fourth is the inheritor; the fifth is the creative team of opera; the sixth is theoretical thinking; and the seventh is life.
We should do a good job in cultivating talents and temper our hard skills
In view of the current chaos in the literary and art circles, Yang Fengyi emphasized the role of morality in literary and artistic creation, and she called on young opera actors to use Mingde to base themselves on their careers, achieve artistic life, lead social trends, and be literary and artistic workers with both moral and artistic integrity.
Shu Tong believes that the most important thing in the inheritance of opera is living inheritance, and we must pay attention to the precious heritage left by our predecessors. At the same time, he put forward requirements for young actors: uphold the correct artistic concept and creative concept, firmly grasp the criterion of literary and artistic work, and attach importance to basic skills training.
Shan Wen pays attention to the problems of program inheritance and innovation in modern opera performance. She believes that while opera actors take the previous artists as teachers, they must also take life and the times as teachers to create more dynamic modern opera works.
Han Zaifen said that if drama wants to be upright and innovative, the key lies in cultivating talents. She shared the successful experience of Zaifen Theatre in cultivating young actors, and believed that attaching importance to audience feelings and accepting market tests is also very important for the development of opera.
Li Shujian summed up the current problems in the opera market with more elderly audiences and fewer young audiences; more rural performances and fewer urban performances; fewer tickets for private venues and more tickets. He proposed that the development of opera needs to retain rural audiences, open up urban markets, and embrace the Internet.
Adhere to the drama ontology and innovate the development of drama
Liu Ping took Qin Cavity's "The Sound of Flowers", "Dog Grandpa Nirvana", and "Wang Gui and Li Xiangxiang" as examples to share her integrity and innovation in performance practice. Under the premise of giving full play to the hypothetical nature of traditional opera, it reflects the personality of performance and keeps up with the pace of the times.
Wang Shaojun outlined the theoretical research framework of the Chinese opera performance system from ten aspects, including the trade, formula, genre, four skills and five methods, basic carpet body, martial arts performance, modern opera performance, musical vocal cavity, percussion, dress regulation, and stage art masonry.
Feng Yuping believes that in artistic practice, it is necessary to achieve three aspects: one is to be willing to adhere to it, to be poor and happy; the other is to consciously inherit and learn from peers; the third is to have the courage to explore and innovate in the choice of themes and performance forms.
Wang Xiaoping exchanged views on the practice and exploration of wu opera talent training under the new situation. He believes that theater management needs to cultivate talents, promote rookies, establish a high-level cast of actors, carry forward the advantages of drama, and vigorously grasp the construction of group style.
Mao Weitao, vice chairman of the China Drama Association and Yue opera performance artist, made a concluding speech at the congress and expressed three feelings. First of all, this forum invited three generations of artists from the old, middle and young generations of the theater industry today, with strong representation and high specifications; secondly, the conference discussion was a relatively comprehensive theoretical review and experience sharing, and the topics involved were extremely valuable; finally, she hoped that a long-term mechanism could be formed in the future, and the Chinese Theater Performing Arts Summit Forum could be held regularly.
This forum explores how theatrical performing arts in the new era can be upright and innovative, which is of great significance and far-reaching influence. The China Drama Association will also continue to pay attention to the problems and challenges facing the development of drama, attach importance to the two-way nourishment of theory and practice, and respond to practical concerns with theatrical works based on the times and rooted in the people.