The 10th Beijing Huimin Cultural Consumption Season has built a new activity system led by more than 20 main activities and coordinated with more than 400 boutique market activities, focusing on six major fields: cultural creativity, performing arts, books, film and television, entertainment and art, creating a rich cultural consumption atmosphere that attracts different age circles and different preference groups.
Beijing Tianqiao Art Center, as one of the key implementation units of the 10th Beijing Huimin Cultural Consumption Season Performing Arts Beijing Section, will perform the musical "Anna Karenina" at the Beijing Tianqiao Art Center Grand Theater from December 8 to December 11, with gorgeous dance beauty, solid script, and good music, it is really a musical that everyone must not miss this year.
preface
The production of the Chinese version of the Russian musical "Anna Karenina" began to hatch in the cold wind of early 2022.
From December 8 to December 11, 2022, it will be held at Beijing Tianqiao Art Center and Grand Theater. The "Art+" column team had a face-to-face interview with Jafan, the actor of Volynsky in the play.
PART 01
Art+: What kind of opportunity did you study at Juilliard in the United States, one of the world's top professional art schools?
Going to Julia was a particularly fortuitous opportunity. Bel Canto, who first studied in China, wanted to go overseas to these countries after finishing his undergraduate degree, and finally chose the city of New York. Because [I] feel that New York is very diverse, and all kinds of art forms are concentrated in this place. In my first year, I enrolled at the Manhattan School of Music, the New England Conservatory of Music, the San Francisco Conservatory, and the Cincinnati Conservatory. Every school I went to came with a scholarship acceptance offer, and finally chose Manhattan (the School of Music). In the first year, I didn't dare to report to Juliard because I was an undergraduate at a normal university, and I felt that Julia was on TV, and I definitely wouldn't get in. As a result, after arriving in [New York], the physical distance narrowed the distance between dreams. Because the Manhattan School of Music is on 123rd Street and the Juilliard School is on 66th Street, [two schools] are on the same road, [me] sometimes go to Lincoln Center and look around and think it's not so far away. So with the mentality of giving it a try (I signed up for Julia), I passed all the way, and finally got the admission letter and went to the Juilliard School to continue studying.
PART 02
Art+: Looking back on your study abroad life now, what do you think is the most memorable memory?
Julia taught me more a cautious and rigorous attitude towards the profession and a serious attitude towards the work. At the beginning, whether in China or other music colleges, we may feel that we are the pride of heaven and the best. For example, I think I have a good sense of musicality, or I think that my voice is particularly good and the conditions are very good, there will always be some superiority, but after going to Julia, I found that all the conditions I am proud of are the basic qualities of everyone, and when there is a gap, it teaches me how to calm my mind and compare with myself. Because everyone enters this school, his conditions are different, and it is impossible for everyone to be very average. The teacher said that attitude is the most important, serious class, serious homework, serious questions, serious answering questions, completing each homework very seriously, comparing myself with myself, such teaching philosophy and attitude will be very helpful for my future career and work.
PART 03
ART+: What do you think of the character of Volynsky in the play?
I also went through a long [transformation] process. Whether you have seen the introduction or the movie, or have a certain understanding of the work "Anna Karenina", most of them will label Volynsky as a "scumbag" we now call it. To be honest, I thought the same at the beginning, I didn't really understand it deeply, and when I didn't rehearse, I also had a little stereotype (of Volynsky). But after performing the whole play, I think Volynsky is a poor person. In this story, not only Anna is a tragic character, Anna, Karenin and Volynsky are all characters with strong tragic colors. Volynsky is a very young, impulsive, naïve, responsible officer, and in the play he has to form a particularly strong contrast with Karenin and Levin. He was going to propose to Kitty at the ball, but he didn't do it, whether he forgot or didn't want to see Anna. This hurts Kitty a lot. Do you say Volynsky doesn't like Kitty? He also had feelings for Kitty, but not that strong impulse. Volynsky must be naïve and very impulsive, and if he were not impulsive, he would not have done something to give up his career with Anna for love.
This is why a literary work of Leo Tolstoy a hundred years ago feels very profound even now. Every character is not perfect, but every character is very real, and we can meet all his characters from real life, making us feel that this character is flesh and blood. When he ended up singing about my fault, I felt that Volynsky was even more pitiful than Anna. Anna finally chose to give up her life and choose to lie on the rails, in fact, she was also relieved. The role of the train conductor in the play I think he is more of a demon. In the end, Anna did not let go of these two men, Anna did not let go of herself. Kitty was in the first half at first, if everyone looked closely, she also wanted to lie on the rails, the train captain also came out, she also saw the train captain, but in the end she chose to let herself go and did not commit suicide again, so she could not see the train captain after that. But Anna repeatedly saw the train commander from the second half, which proved that her own inner demons had spread deeper and deeper in her body, more and more, and finally Anna really couldn't bear it, she chose death. This matter is also very hurtful to Volynsky, and he will carry a guilt. In the end, he wanted to save Anna, and when Volynsky went to the theater, he was trying to save Anna and bring her home. But Volynsky didn't know what to do to save her in the end, and he had no way to do it.
When he gave up his career as an officer in order to be with Anna, there was a song that sang "Do you want to go abroad, I will take you to Paris, Berlin, Geneva, I can take you wherever you go", which is also naïve, and finally reality taught him a lesson. After he had no career and no money, he found that he could only return to his village, to the estate, to run for chairman, that is, a leader of the village committee, and he found that he was going to start a hard work, and he would be unrestrained like Anna. Anna herself is insecure, and in the original book she said that I could die for two men, one Seryosha and the other Volynsky. In the end, she felt that when she couldn't see Seryosha, her heart was very divided; When she was with Volynsky, she found that love would fade and become more of a responsibility, and she had no way to bear it, so she finally chose death. The theater song tells the story of Solomon in the Bible, who told a young girl what love was, and that young girl gave herself for love without hesitation. We can't convey this message very clearly in that song because of cultural differences, but from the lyrics (the audience) can detect some details, to detect Anna's determination to sacrifice herself for love. This also involved the aristocratic life and culture of Russia at that time.
Anna's behavior is also for love to fight against the whole environment, I want to pursue my own happiness, I want to pursue my own love. is a very brave woman who bravely fights with the people around her for her love. Only Anna stood up and wanted to prove it for love, to bravely rush forward for such a love in my heart. ("Anna Karenina") is actually a story of rushing to love.
PART 04
Art+: Based on your description, you know your character and the leading characters very well, how did you play that character?
As an actor, on stage, it is more about really listening to and seeing real feelings, and you need to understand the background of the times. Here I am very grateful to the Russian director Alina, who very carefully told the actor that she is not about scheduling, but why you passed. She will tell you why and why you are going here.
I think the big gain this time is the cooperation with director Alina. Director Alina is very dedicated and professional, she is a very emotional female director, her emotional ups and downs are very large, but she really creates a very safe environment for actors. We asked any questions and she could give us very reasonable explanations and why we were in this environment. The director and the creator have created a very safe environment for us, and as actors, we have to open ourselves completely. It is a very happy thing to create a good character, because the character appears in the book, he is no flesh and blood, he is not a person, he is just a symbol, but the actor can turn it into a living person by himself, you are bound to give a part of yourself to this role, you have to give him some of your own personality, let Volynsky carry your own imprint. I feel like I did it, and I had to do it, and I wanted this character to live not only on stage, but also in the hearts of every audience who has seen the Chinese version of Anna Karenina, who is a living person.
So a lot of the current reactions, if it were what kind of judgment would I have when I encountered this situation, whether I could be as brave as Volynsky, (I) would do a lot of thinking. I like this play very much, and it can be said that it is my favorite work since I took on so many musicals, because it is thick enough and the emotions are strong enough. Some viewers may feel that its pace is fast, but in fact, this play really has to sit down slowly, it is not a fast-moving consumer product, it is a work of art, not that I can understand it once I watch it, a lot of threads will be buried in some small details. For example, if we go through the first few rehearsals with makeup, some viewers (friends and family) will think that it is too fast, but in fact, it is not fast, they just don't notice. Anna and Volynsky were already looking at each other during the overture, and they looked at each other twice, which is very, very critical. We also know in the book that Volynsky and Anna are talking about her own son the whole train, and these are very small points, and sometimes the audience needs to watch it two or three times to capture all the information.
All the scenes came out when we were in the rows, and as actors, we should adapt to this. In the rehearsal hall before, your emotions might be 30% to 60%, and when you get to the theater, you have to open 80% to 90%, and sometimes it doesn't mean that I open 100% is the best. Volynsky he has been collecting inside, so he has no catharsis for his emotions. One day I was particularly depressed after the performance, and the next day when we entered the note (Russian director's prompt, the same below) and saw the locomotive, I cried all morning, and the tears flowed by themselves. The music of "Blizzard" runs through Anna from beginning to end, which is a very important event, and Volynsky and Anna are in love is this melody, and the melody when Anna commits suicide at the end is also "Blizzard". So you look back after watching the whole story, and the first act becomes less happy. When you already know the ending, it gets even sadder. The first time you watch ("Anna Karenina"), you may feel that the first half is so happy and happy, it is all a love story, but when you watch the whole work, it will become even more uncomfortable to come back and watch the first half. I also told the two Annas that Volynsky is actually the most important supporting role in this, and I have always positioned myself in this way.
In the first half, Volynsky was (needed) to bring the rhythm of the drama. I have a very strong shoulder braced here, so that Anna can step on my emotions and climb up, she can fall again, and after she goes up, I bring my emotions up again, and Anna steps on me and climbs again. When you watch it, you think that for Volynsky, the second scene of Act II, "My Queen" is the most important because it is a solo song, but I don't think so. I have always felt that "If You Are Not By My Side" is the most important, because if "If You Are Not By My Side" is not performed well, the subsequent "Freedom and Love" will not be established, then "Freedom and Love" will not be established, the entire first half will not be established, and the first half will not be established and the second half will not be established. So everyone should perform their duties, such a famous work does not say who is the protagonist, who is the supporting role, there are no big roles and small roles, and even Kitty and Levin are also very important two leading actors, because he is a reflection of the love between Anna and Volynsky. There is also Volynskia, for example, Volynski's mother, Sherbonsky, Kitty's father and mother, there are a lot of threads buried in it. There is also the conductor, who (the audience may) see two or three times to know why the conductor is here and why he is in this place. The content in it is too rich, coupled with a very gorgeous dance beauty, and a very solid script, good music, it is really a musical that everyone must not miss this year.
PART 05
Art+: What did you give to the show, your understanding of the characters in the show is an acquisition, what other gains are there? Art + in addition to the stage first kiss.
That's actually fine, I think the most is that you have to open yourself completely, you have to identify with Volynsky is also a part of you. The previous drama may not have such a strong emotional moment, and it can be pulled out of it quite quickly, but the role of Volynsky really tests an actor and must be quickly withdrawn from it. It's like the day I cried all morning, crying every time I looked at it, but it was good to finish crying. I think the most important thing is to open yourself completely, just like Anna dedicated herself to love, to dedicate herself to this role, and to have such a belief in order to play him well.
Other gains have just been mentioned, and I have gained a lot of friends, which I think is very rare. We have such a big crew, there are so many cast and crew, and all our dance, chorus and character actors have very, very good relationships, which is very rare. And I also have many good friends, such as Yang Haochen, Guo Kan, Mi Chenchen, Ruicong, and Xin'er. Without these friends, I consumed so much emotion that I couldn't replenish it. Real friends give me a lot of energy, those (emotions) released on stage, there must always be other emotions in life to make me very full and abundant. So after each row, we may sit in the house and have a late-night snack and chat, and some things that seem to be very ordinary actually help me very, very much. I was also very fortunate to work with director Alina (Chevik) this time, and at the end I wrote a letter to director Alina and asked the translator to translate it for me, and I told her that I really haven't felt like this for a long time, and everyone's completely closed training (let me) find some emotions in school.
Although I haven't met you yet, the happiest thing for me is that through "Anna Karenina", my performance and singing have improved a lot, which is the most satisfying thing for me. Director Alina is very responsible, she just keeps yelling every day, she is not angry, she has been yelling, she is not tired. And Alina likes me very much, Alina's three big babies, Jia Fan, Guo Kan, Yang Haochen, she said it herself, three big babies (laughs). If you go to the theater, you will see skating. Alina can't touch her own works, we can't play freely with every scheduling, she has to come to you to rehearse, even when we are resting, she has to turn on the camera, she is strict about her work to this extent. One day when we were in a row (director Alina), we suddenly called two Volynskis, and she said: "I want to change the feeling of roller skating, Fan, because I really like your laughter, I think you laugh so well". So in this place it was changed to Volynsky roller skating to make Kitty laugh. The Russian version and the Korean version (Volynsky) are both particularly handsome appearances, only our Chinese version, she has made a cute treatment. She herself said that Volynsky is a twenty-one-twelve-year-old young man, so that it can show Volynsky's naïve side from a small point, a small side. She said that you have this condition to show this aspect, so she changed it. She said that you are the feeling of deliberately making her laugh, to overflow, Volynsky is a young man. Although the Russian version of their actors is a little more mature, I think this is the creation of art, the greatness of art, you can find the shadow of the role of Volynsky from different people.
PART 06
Art+: The premiere of this play is imminent, how are you feeling now? What about stress?
At that time, after watching the video of the township, I thought it was a very good work. I'm not more nervous now, I'm excited, and I can't wait to bring such a work, such a story, through my own interpretation, with the stage and technology, and all my friends, to bring the story to the audience, we hope to convey the story and move. Now you say that you are nervous, and you are a little nervous, but more excited, I want to quickly let everyone feel the charm of "Anna Karenina" with Chinese.
PART 07
Art+: You and Xu Lidong have also worked together on the musical "Rock Faust" before, how was this collaboration?
Very good, the premiere of "Anna Karenina" at the Shanghai Grand Theatre on October 15th is me and Dongdong, and I have a special relationship with the Shanghai Grand Theatre, just like the "Rock Faust" you just mentioned. My last performance this year was "Faust 'n' Roll" in Shanghai on March 1st, but my work for the second half of the year started again at the Shanghai Grand Theatre. Who would have thought that your last musical performance this year (first half of the year) was at the Shanghai Grand Theatre, and your second half of the year will start again at the Shanghai Grand Theatre, which is also quite rare. Before playing "Rock 'n' Roll Faust" with Liton, I played White, a god-like character trying to save Gretchen. This time it was a lifesaver that she (Anna) didn't catch at the end, which was also quite interesting. The change of roles, the transformation of identity, two friends who are so familiar with each other, it is also very wonderful.
Not only the Shanghai Grand Theatre, but also the Tianqiao Art Center (very fateful). I should have climbed the flyover (art center) three times, but last year Rachmaninoff did not take place in Beijing. At the Flyover Art Center, it was the only time that X-White of "Rock Faust" walked into the audience to interact with everyone. I was watching the video (of Faust on Rock) the other day, and I said oh, this is at the overpass. This time, I was on the stage of the Tianqiao Art Center, and I am also looking forward to it. Because acting in the flyover (art center) is particularly comfortable, it will give the actors a sense of wrapping, very safe (feeling). When I performed "Rock Faust" at the Flyover (Art Center), I felt that the whole person was wrapped up, and the sound was very clear, and I felt very comfortable. So this time I am also looking forward to being able to show "Anna Karenina" on the stage of the Tianqiao Art Center to audiences and friends across the country with friends.
PART 08
ART+: How did you keep your body in such good shape?
No, I'm actually not in good shape (laughs). One day it was particularly funny, when we were in a row, the costume was glued, and when I performed "If You Are Not Next to Me", I tore my tie, but I didn't expect the button to be fully open, but fortunately, I was wearing a leggings inside (laughs). The only note I got that day was that director Alina was there and said that he only needed to undo one of the buttons, whatever he was doing there, why the buttons were open. The next day she found my underwear again, and my note the next day was: "Can we throw that undershirt away, can we not wear it?" "I said no, at most I changed to flesh-colored (laughs). I'm actually not particularly well managed, but I recently thought that running back and forth between the two plays was indeed a little thinner. Because I'm so tired, it's hard to run back and forth between the two plays, and I will eat with everyone but not much. I was thinner than before, because I bought a pants before, I bought them hard, and I couldn't breathe after putting them on, but now I am very comfortable, (all I can see myself) I am thinner.
PART 09
ART+: Will you work out? What other hobbies do you have in your spare time?
I won't, I'm not likely (continue laughing).
We are in the national policy synthesis, I have been in the national policy for almost a month, and I cannot walk back to the hotel from the national policy. Why do I say that I can't do without friends around me, and friends take special care of me because I don't know the way. That is, I can't do anything in life, I don't use the washing machine when I go to the town, so I ask them, I said how to use the washing machine, what do I want to press, because I press it for a long time it does not enter the water, I don't like to order, that is, I don't like to take the menu when I go out to eat, I eat anything. I only don't get lost in one place, that is, I don't get lost in the mall, which brand of this mall is on several floors, I want to know in my mind, I like to visit the mall in my spare time, and I don't like rolling the road, because sometimes it rains, it's too sunny. Inside the mall you are hungry, you run up there to eat something, just after eating you can continue shopping, the wind can't blow rain, the summer is cool and the winter is warm.
PART 010
Art+: You yourself are now being chased by fans, are you also chasing stars? For example, whether this star is a movie or a music, what qualities do you like about them?
When I was asked this before, I always answered myself, so I said that I was just myself or how (laughs). But [I] recently liked a musical theater actor, Park Hyo-shin. His singing technique, the direction of his voice is very similar to what I thought, I especially like to listen to it, it has inspired me a lot. Especially when I listened to him sing "The Smiley Man", on "Open Your Eyes", that aria, that kind of song, the technique of using voice can be written into the book, very precise, very accurate. How much he uses qi and how much he uses his voice can be transcribed into a book for everyone to learn, and I think that the next time I have the opportunity, I must go to see his scene and feel it again.
PART 11
Art+: You are more cheerful and lively in front of the camera and on stage, what is your personality in life? Do you like a lively or quiet one?
I still like to be lively. After performing "Anna Karenina" on stage, (I) felt that I had emptied myself, and the whole person had no emotions, no emotions. So I like to chat and complain with friends, which will make me feel that life is very good, and there are still many friends in life. I think I may need a lot of people to love me, I may need a lot of this feeling, give me a lot of strength, not only for myself, but also with the friends around me to be able to rush forward, I am such a person.
PART 12
Art+: What's your favorite scene on the show? Is it "If You're Not With Me"?
I like them all. I also like "If You're Not With Me" and I like "Blizzard". "Blizzard" is actually more beautiful than "If You Are Not With Me", when a large pillar fell, there was snow on the big screen behind us, and there was snow made of real pieces of paper. I think that was the happiest time for Anna, because Anna was singing "Blizzard, heaven and earth are a void, I don't know where I am." You think she's scared and sad, but she's not, she's very happy because she's never experienced it before.
PART 13
Art+: It is the special beauty of the stage.
Yes, and the words are very layered. She sings about something not so good, but she is happy and happy, "I am like a bird, losing the embrace of the sky, making me disoriented, wandering in the wind and snow, unable to resist, nowhere to hide, where to go". She said "can't resist, nowhere to hide, where should I go", is a strong love with Volynsky, she herself is very happy, because she has never felt, it is the collision of reason and emotions that makes this scene very layered.
PART 14
Art+: What kind of view of love do you hold?
Love, family affection, friendship, people to live in this world, in fact, is nothing more than a "love" word. This "love" word is all connected. I think whether it is good friendship, good love, or a benign family affection, it should be mutual appreciation, which is a very, very important point. You have a part of your field that is worth appreciating, your significant other, this other half may be a friend, it may be a lover, it may be a family, it may be various roles (there is also a part to admire). A good relationship is definitely about appreciating and helping each other. Just like Anna and Volynsky, such strong feelings will fade in the end and tend to normal. Especially at the moment, I feel that love can become a very important concoction in your life, but the most important thing is that you must first learn to love yourself before you have the ability to love others, Anna did not love herself in the end. I think the most important thing is to love yourself, and only after you love yourself will you have more love to give to others. Sometimes love is like holding a handful of sand in your hand, the tighter you hold it, the faster it doesn't be, so everyone still has to arrange their own work first, arrange their own life, arrange their own family, have their own circle of friends, and have their own living environment. Just like our old saying in China, if the banyan tree is planted, the phoenix will naturally come.
PART 15
Art+: Do you have any final additions to this interview?
No, I think I'm talking too much (laughs).
END
Leo Tolstoy's immortal tome
See the closing drama of the 6th Lao She Drama Festival in Beijing 2022
Russian musicals
Anna Karenina Chinese edition
Show time
December 8-11, 2022
Thursday, December 8: 19:30
Friday, December 9: 19:30
Saturday, December 10: 14:30, 19:30
Sunday, December 11: 14:30, 19:30
*The duration of the show is approximately 135 minutes, including a 15-minute intermission
Performance location
Beijing Tianqiao Art Center and Grand Theater
Ticket prices for the show
1080/880/680/580/480/380/280 yuan
Beijing Tianqiao Art Center official website: https://www.tqpac.com/
Beijing Tianqiao Art Center members exclusively:
1. Ordinary members enjoy 9.5% discount on tickets. Gold Exclusive Members enjoy 9.2% off ticket discount, art friends. Platinum exclusive members enjoy 90% off ticket purchase and art coffee. Diamond Exclusive members enjoy an 8.8% discount on tickets. (The membership discount for this performance is limited to 6 tickets, and the lowest ticket price does not participate)
2. Member discount day: On the day of membership (the 20th of each month), you can enjoy a 20% discount on ticket purchase (limited to 2 tickets per person, membership level is not limited, only offline ticket purchase, this discount cannot be shared with other promotions).
3. Artists. Gold exclusive members, art friends. Platinum exclusive member, art café. Diamond Exclusive members can use a 20% off birthday surprise coupon, which can be combined with any discount. Scan the QR code to become an exclusive member to enjoy more member benefits and benefits.
Note: Some discount policies are not available
*Cast is subject to live performance
Interview Coordinator/Typesetting: Wang Chenyu
Interview/Copyeditor/Responsible Editor: Zhao Pingping, Wang Ziyu
Camera/Video Editor: Yu Ying
Tips:
You can purchase tickets through the official website of Tianqiao Art Center, WeChat public account and special agents. When entering Beijing Tianqiao Art Center, please wear a mask correctly throughout the process, cooperate with the staff security check and temperature measurement, open the "Health Bao" scan code to register, and check the negative nucleic acid test certificate within 72 hours, and those who enter and return to Beijing within seven days are not allowed to enter crowded places.
Ticketing instructions
1. Please fill in the valid information of the audience when purchasing tickets;
2. For audiences who purchase tickets online and choose express delivery, the staff will deliver the performance tickets to the audience's designated address by mail, and the audience needs to pick up the performance at the box office within 3 days;
3. The ticket purchaser should check the date, number of performances and payment of the purchased performance ticket when purchasing tickets, and the performance tickets will not be returned or exchanged after they are sold;
4. Spectators should cooperate with the staff to do a good job in security check;
5. After entering the auditorium, please take your seat according to the seat number on the performance ticket, and please do not change your seat during the performance.
Admission Instructions
1. Audiences are required to present tickets for the performance at Beijing Tianqiao Art Center;
2. When entering Beijing Tianqiao Art Center, please wear a mask correctly throughout the whole process, cooperate with the staff to check and measure body temperature, open the "Health Bao" scan code to register, and check the negative nucleic acid test certificate within 72 hours;
3. Visitors with abnormal body temperature (≥37.3°C) or abnormal display of Beijing Health Treasure and nucleic acid for more than 72 hours will not be allowed to enter; "Bright code" must not be used instead of "scanning code", and accompanying personnel must not "scan the code by one person and enter by multiple people";
4. Due to the timeliness of the performance ticket, it is a special commodity, once sold, it will not be returned or exchanged, please be sure to verify whether the health treasure and nucleic acid certificate meet the requirements before watching the performance;
5. In order to reduce the gathering time, do not stay after the performance, please leave the venue in an orderly and fast manner.
*If you have any questions, please call 400-635-3355 (10:00-19:00). The specific implementation of the site is subject to the latest release of prevention and control policies, and if there are other circumstances during the epidemic period, we will notify you separately, thank you for your understanding and support!
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Beijing Tianqiao Art Center / Building 9, South Tianqiao Street
Ticketing telephone: 400-635-3355
Official website online seat selection: www.tqpac.com
(Source: Beijing Tianqiao Art Center)