The Paper's reporter Wang Yi
Rehearsal photo of "Live Broadcast of the Founding Ceremony". Offered by the National Theatre
"Listeners. Today, Peiping was liberated. On the order of the Beijing Municipal Military Control Commission of the Chinese People's Liberation Army, the Kuomintang Beiping Radio Station will soon stop broadcasting..." The male voice is slender and his tone is low.
"Xinhua News Agency Frontline 22: 300,000 people of my heroic People's Liberation Army crossed the Yangtze River!" "The So-called impregnable Yangtze River defense line of the Kuomintang reactionaries has been completely defeated by our heroic People's Liberation Army!" (Male voice) "The old lady struggled to shake the bridge and escort the People's Liberation Army; the big girl also struggled to paddle and braved the smoke and flames of war to advance!" "(Male and female) voices are loud and emotionally high-pitched.
"Record history on airwaves and witness the birth of a nation!" On October 1, the original drama "Live Broadcast of the Founding Ceremony", commissioned by the National Centre for the Performing Arts and produced and performed by the National Theatre of China, was "sounded" at the National Centre for the Performing Arts and premiered successfully. For the first time, the play brings to the stage the great historical moment of the founding of New China on October 1, 1949, and the behind-the-scenes radio story broadcast live. The round will run until October 7.
On the day of the premiere, Tian Qinxin, president of the National Theatre of China, screenwriter and director of "Live Broadcast of the Founding Ceremony", said, "The six words of 'Live Broadcast of the Founding Ceremony' touched me, which is a glorious and arduous 'Tianzi' task. It is hard to imagine that in The early days of liberation in Beiping, faced with technical bottlenecks, rudimentary equipment, and the environment of sabotage carried out by latent agents, there was such a group of lovely and respectable broadcasters, who did not hesitate to work day and night, overcame many difficulties, and finally successfully completed the live broadcast of the founding ceremony of the People's Republic of China, and sent out the 'founding voice' of new China to the whole world. ”
posters
The production team of "Live Broadcast founding ceremony" has a strong lineup, highlighting the creative strength of the Chinese drama "national team". The screenwriter of the play is led by Tian Qinxin, Liu Jinni and Jiang Wenliang, and the director Tian Qinxin, the drama composer Luo Bing, the consultant Shi Bohua and Bi Lianzhu, the broadcast director Ran Di, the executive director Liu Dan, the visual director Wang Chen, the stage design Li Yang, the lighting design Wang Qi, and the excellent actors zhang Tong, Wu Fan, Tao Hong, Wu Bi, Liu Wei, Su Qing, Han Qing, Tian Zheng, Ma Ang, Zhao Yanyan and other outstanding actors joined in the joint interpretation.
Restore life Intensive cultivation script "high brightness and stability" instead of "gentle and soft"
As indicated at the beginning of this article, the live broadcast task of the "live broadcast of the founding ceremony" in the play was undertaken by The Beiping Xinhua Radio Station. In Beiping at the beginning of liberation, the composition of the radio station was divided into two parts: The announcers and technicians of the former Yan'an Xinhua Radio Station and the former Kuomintang Beiping Radio Station must quickly hone into a fighting team in a short period of time, and with a high degree of political consciousness and responsibility for the party and the people, work together to accomplish this "Tianzi" task.
Rehearsal photo of "Live Broadcast of the Founding Ceremony". Offered by the National Theatre
"Chief, how can these two groups of people sit together?" The ideological understanding is completely different! The question raised by the editor-in-chief of Peking Xinhua Radio station in the play is precisely where the curiosity of the audience lies - under the closed management, two different camps that were previously subordinate to the Kuomintang and the Communist Party of China, limited to the specific tasks of secrecy discipline and unclear, but they had to fight side by side for a lofty goal and open a secret time of coexistence. What kind of story will they have between them?
Bumps in the run-in are naturally indispensable. From Yan'an, Gao Damei (Tao Hong), a loud-voiced announcer, led the female announcers of Xinhua Radio Station to prepare a draft before the broadcast, while the female announcers of the former Beiping Radio Station, who were also preparing drafts, gave their opinions -
"You guys be quiet."
"You can't whisper, the broadcast should be at such a volume."
"But we can't do it at a volume like yours. Broadcasting is to be flat, slow, and soft. ”
"Hahaha, no wonder you are losing ground on the battlefield." The broadcast should be high, bright and stable. Be like a trumpet of victory, let people's blood boil. ”
"What are you, ours?" Now everyone is 'comrade'. We are a world, a new China! ”
……
For a long time, many viewers have had a perceptual understanding of the radio broadcast style under the rule of the Kuomintang and the Communist Party of China from film and television dramas, and have collectively referred to the former as "the sound of silence". However, like this drama, the two styles are highly condensed and integrated into the interesting plot, which shows the depth of excavation and detail in the creation of the script. Liu Jinni, one of the screenwriters, told the surging news reporter that the announcers in the National Unification District are accustomed to reading 80 words per minute, while the announcers in the Liberated Areas broadcast more than 120 words per minute. ”
Different origins, different experiences, for the same goal to get along day and night, sisterhood between each other slowly grew, quietly concluded. One of the touching scenes in the play is that the female announcers of the two sides get together to prepare a supper for everyone. At this moment, they are united in order to solemnly announce to the world the founding of a new China; in the past, the parties that belonged to each other used to unite at the moment of national peril.
"In Chongqing," the frogs in the fields were blown up, but our radio broadcasts were broadcast every day, exposing Japan's atrocities against China to the whole world. Angry Tokyo newspapers reported that planes bombed Chongqing, where all the frogs had been blown up, why the annoying 'China Radio International' was still barking. The Japanese call us the 'Frog of Chongqing'. ”
"On December 30, 1940, in the old cave dwelling in Wangpiwan Village, Yan'an, a Xinhua Radio Station was established with a call sign of XNCR and a power of 300 watts, and since then we have had our own voice. We broadcast current affairs news, celebrity speeches, and revolutionary stories to arouse patriotic enthusiasm and jointly resist foreign humiliation. ”
Different retrospective angles have narrowed the distance between the people in the play, and the audience has gradually been infected by the spontaneous patriotic enthusiasm. In the theater, the spirit of "unity and tension, seriousness and liveliness" is stirred, which not only gradually becomes the performance atmosphere that dominates the entire stage, but also reminds people of the years of burning passion. The staff of Yan'an Xinhua Radio Station were originally civilian soldiers, not only wearing military uniforms every day, but also talking and behaving with the habits and true colors of revolutionary soldiers. The screenwriter is obviously very familiar with this, and the "our side" personnel are shown to be frank and frank in the play, using the phrase "croaking" (meaning clapping and celebrating) that officers and men of the People's Liberation Army often say on the lips, which is amazing.
Instant shooting, real-time screen projection "Blood vein substitution sense"
With the "same voice" under the inspiration, we must face the "common difficulty" under the tight time and heavy tasks. In mid-August 1949, Peking Xinhua Radio received the arduous task of "live broadcasting the founding ceremony", with less than two months of preparation time, which can be described as imminent. Just like in the past, Director Tian Qinxin's works were woven from dense lines, and this "Live Broadcast Founding Ceremony" is not afraid to express the expertise and terminology in the field of radio. Many actors admitted in interviews that the first hurdle to pass to take over this play is to first smooth out the technical terms." ”
"Don't be hasty, don't be easy, don't shout slogans, use your brain, and think carefully about how to accomplish it." How to collect the sound on the T' square? How to amplify the sound? 110,000 square meters of square, how many speakers to install? What microphone to choose for Chairman Mao? How to hear back the sound of Commander-in-Chief Zhu's military parade? Who is the most suitable announcer in the square? These are the biggest challenges. Shortly after the opening, General Wang Jin, the supreme commander-in-chief of the live broadcast scene, asked a series of questions, not only the development and climax of the plot after the outline was revealed, but also tightly let the audience hold their breath with the people in the play - and see how they overcome one technical difficulty after another. It is worth mentioning that the main characters in this play are corresponding to the prototypes of real characters. The prototype of the just mentioned General Wang Jin is General Wang Yi, the "originator" of the Red Army's radio industry during the revolutionary war.
Stills Pictured from the official public account of the National Centre for the Performing Arts Photo: Niu Xiaobei, Noble
With a swirling pigeon whistle, Zhao Yingjie, the former head of the technical section of the Kuomintang Beiping Radio Station, played by Wu Pi, stepped onto the stage. "Walk through the lively streets. The summer wind, warm and full, with this newly liberated city, drumming a spirit. The signboard of the 'BadaXiang' silk cloth shop, with white characters on a red background, is not red but a red flag inserted on the shop. People are talking in a particularly loud voice, and they are all talking in piles. Everyone wants to live a new life and is planning a new way of living. Foreign car——"
Photo from the official public article of the National Theatre of China Photo: Tian Yufeng, Lin Jingren, Song Jiabin, Li Yang
From the center of the narrow stage, Zhao Yingjie rushed to Beiping Xinhua Radio Station with his luggage from Qianmen Avenue. The visual director of the play, Wang Chen, uses the vertical stage to lengthen the depth of field, and cooperates with the stage design Li Yang and the lighting design Wang Qi to use simple and powerful visual installations to reflect the grand historical scene of Qianmen Avenue. Between the virtual and the real, it seems to bring the audience into the Beiping in mid-August 1949. And this is a major bright color in the stage design - different from the traditional horizontal "black box" on the domestic theater stage, "Live Broadcast Founding Ceremony" adopts a rare longitudinal narrow stage, visually lengthening the depth of field combined with multimedia real-time photography technology, using geometric changes in the structure of the stage space and rapid changes in props to bring a new visual experience to the audience.
Stills From the official public article of the National Theatre of China Photo: Tian Yufeng, Lin Jingren, Song Jiabin, Li Yang
On the spot observation of the surging news reporter, the narrow stage itself has participated in the narrative expression of the plot many times. For the first time, the announcers and technicians of the former Yan'an Xinhua Radio Station and the former Kuomintang Beiping Radio Station gathered together, and each of them got up and took turns to introduce themselves. The actors gathered at the front of the stage to perform, and on a dangling LED screen behind them, the video of the real-time performance was made into a black and white effect and put on it. In this way, a blend of artistic reproduction and historical reality is formed, showing the convergence of "present" and "past" circular observation.
Time is approaching day by day, whether it is the doubts brought out by the appreciation and admiration of Gao Damei, played by Tao Hong, in the team, or the distrust of lu Haiyu, an old classmate and director of the technical department of Beiping Xinhua Radio Station, mixed with the friendship of the deceased, or the confused and complicated attitude of the secret agent Lao Xia played by Liu Wei, tangible and invisible, all add difficulty to Zhao Yingjie's work. "Why are you asking about the assembly time?" This is confidential information, don't you know that this kind of questioning will arouse my vigilance? "On stage, a crisis of trust is on the horizon.
At this time, the real-time shooting team shot and real-time projection through the lens, through several multimedia screens on both sides of the stage, with the change of lighting on the two actors, mixed with the shouting of the picker, the noisy noise of pedestrians, and the lively scene of Chongqing Chaotianmen Wharf in the back area of the stage came into view - the picture of Zhao Yingjie sacrificing his life to save 7 years ago instantly reappeared in front of Lu Haiyu and the audience.
Through the application of light and shadow and instant photography technology, the two time and space pictures overlap together, between the virtual and the real, so that the audience's thoughts also follow the history and reality back and forth. Such a new theatrical stage presentation form and freehand expression not only hit the heart and arouse people's thoughts. Not only that, the real-time shooting team also enlarged the details of the digital clock, the subtle expressions of the characters and other details to the screen, which not only tested the actors' acting skills, but also allowed all the audience to get a sense of substitution like watching the movie.
From "The Great Journey" to "Live Broadcasting the Founding Ceremony" Tian Qinxin's stage summary
When Chairman Mao's solemn proclamation finally sounded on the stage, "The Central People's Government of the People's Republic of China was established today!" At the sound, everyone on and off the stage cheered and shook this exciting moment, and the audience could not help but relive this groundbreaking and important historical moment with the rhythm of the music. Many viewers said: "This moment seems to make their passion burn, shuttle back to 1949, and witness the founding of New China in Tiananmen Square." ”
In the director's elaboration of the "Live Broadcast of the Founding Ceremony", Tian Qinxin wrote, "I would like to dedicate this drama to those who have contributed to the broadcasting cause of New China, to offer our blessings to the 72nd anniversary of the founding of New China and the 100th anniversary of the founding of the Party, and to the Chinese people who are making unremitting efforts for the development of China in the new era. In fact, the closed management experienced by the radio staff in the play, as well as the overall situation and coordination of all parties in the case of "tight time and heavy tasks", "must be foolproof!" "(Lines in the play) Is it not a copy and observation of Tian Qinxin's work status in the past year after he was officially appointed as the president of the National Theatre of China at the end of last year.
Director Tian Qinxin's work photos during the rehearsal of "The Great Journey"
On the evening of June 28 this year, fireworks rose in the air for four degrees, reflecting the sky above the bird's nest dazzlingly; on the evening of July 1, the audience waiting in front of the big and small screens saw the golden party emblem as high as 16 meters solemnly rising, shining brightly... Although the literary and artistic performance "The Great Journey" celebrating the 100th anniversary of the founding of the Communist Party of China has come to an end, the evening party, which was performed by more than 8,000 people and included artists from both sides of the Straits and three places, is still unforgettable.
As the deputy director of "The Great Journey", Tian Qinxin had previously told the creative process of the literary and artistic performance in an exclusive interview with the surging news reporter. In her view, "The Great Journey" as a collection of evenings, "and Chinese drama in this large-scale evening, is a unique story situational expression." The whole performance requires accurate length, every minute and second must be calculated accurately, the average length of a theatrical performance is only about one minute, the longest is only more than two minutes, but it is an important node on the timeline, and each drama story presents a fresh slice of an era, to hit the softest place in the audience's heart. The solution given by Tian Qinxin is to combine technology and art innovation, and the twelve words are summarized as "instant shooting, instantaneous guidance, and real-time screen projection." This technical practice was also applied in the performance of the "Live Broadcast Founding Ceremony".
Screenshot of the performance of "The Great Journey"
As a line in the "Live Founding Ceremony" said, "In the tide of unity of hearts, I became a drop of seawater." In the first three quarters of this year, Tian Qinxin's work schedule can be described as full. On the first day of the Lunar New Year, the first issue of "Shang Shu" of "China in the Classics" was broadcast on CCTV, continuing to tell Chinese stories in a cross-border way of television and drama. During the two sessions in March, as a member of the National Committee of the Chinese People's Political Consultative Conference, Tian Qinxin, president of the National Theatre of China, was awarded the "Outstanding Performance Award of the National Committee of the Chinese People's Political Consultative Conference". After that, she officially accepted the position of deputy director of the large-scale sitcom epic "The Great Journey", and together with another deputy director, Sha Xiaolan, she was responsible for the directing of the video part of the whole party and the drama video group.
Tian Qinxin at the National Stadium
During this period, Tian Qinxin fell inattentively at the rehearsal site, resulting in a fracture of his left ankle, which has not yet healed. In June and July, on the one hand, the final sprint of "The Great Journey", she also has to divide her energy to ensure that the drama "Red Starting Point", which she is the general director, as the "Red Performance Season" of the National Theatre of China to celebrate the centenary of the founding of the Party, will be performed as scheduled on June 30, and she can really be said to be in a wheelchair and set up a double crutches. In the interval between the performance of the "Live Broadcast of the Founding Ceremony", Tian Qinxin was once again interviewed by the surging news reporter, and the following is presented in oral form.
Director Tian Qinxin Is pictured from the official public account of the National Drama Theatre
【Dictation】
"Live Broadcast founding ceremony" "Technical problems + espionage + full-space stage"
The starting point of the idea of the play "Live Broadcasting the Founding Ceremony" was from the dramatic composition of this play, Luo Bing, who was the former host of the Beijing People's Radio, who mentioned the live broadcast of the founding ceremony a few years ago, but only said such a thing in a few short sentences. He said that in those days, in such a big square, live broadcasting must have been difficult.
I felt that this would be a good subject, and entrusted him to help me check some information, and learned that in mid-August 1949, this group of broadcasters from Xibaipo to Beiping's former Yan'an Radio Station received the task of broadcasting the founding ceremony live. How to collect the sound in the square, how to design and arrange Chairman Mao's microphone, and how to receive the password issued by Commander-in-Chief Zhu in the military parade are all difficult problems they are facing, and the time is very urgent.
Later, we checked a lot of materials, and the whole process of creation asked Bi Lianzhu, an expert in radio history, Shi Bohua, an expert in radio history, and Wang Junwei, an expert in party history. Due to the need for confidentiality, when the technicians received the task, they did not know that the live broadcast was the founding ceremony, and they always called it "Tianzi Mission", and they did not know where it was held, they could only see from the drawings that it was an ancient structure square, and only when there were two or three days left in the end, they knew more complete information such as the location and content of the activity. However, in order to present the artistic effect, our drama will say in the first scene that it is the task of live broadcasting the founding ceremony, and then use the "Tianzi task" to refer to it.
The most difficult thing about the creation of "Live Broadcast founding ceremony" is the part about "technology", especially the technical research of two lines: one is how to achieve live broadcasting in one and a half months, and the other is to prevent the sabotage of secret agents, there are some characteristics of spy dramas, and the composition of these two lines is very interesting. If you want to summarize the creative conception and realization difficulty of this play, I think this time can be summarized as: "the technical problems inside and outside the play" + the introduction of the spy war plot + the full-space stage.
The new typesetting of "Wild Ride" has set a precedent for the domestic "instant photography" application
Semi-cinematic real-time photography, in fact, I have applied it in 2017, on the occasion of the centenary of Chinese drama, when rehearsing the new version of "Wild Ride". At that time, in order to combine technology and art, it used the technology that the industry thought was relatively new - instant shooting, and 8 cameras were used on the stage, and the scene did a semi-cinematic real-time shooting of "Wild Ride".
Stills from the 2001 edition of "Wild Ride" Image from the official public account of the National Drama Theatre
Speaking of which, the drama "Wild Ride" is my first realist drama work, and it is also a commissioned work launched by the Central Experimental Drama Theater to commemorate the 80th anniversary of the founding of the CPC. After its premiere in Beijing in 2001, it also began a nationwide tour. "Wild Ride" is also the "last work" of the Central Experimental Drama Theatre, which was later merged with the China Youth Drama Theatre to become the current National Theatre of China.
In addition to the first "Japanese drama", the five "plays within a play" in "Wild Ride", "Salome", "Nostalgia", "Consistency" and "Guan Hanqing" are all drama works created and translated by Tian Han in different periods. My choice of these works is to show Tian Han's creative trajectory as a dramatist, and also to foreshadow the possibility of a diversified situation in the future of Chinese drama.
Frankly speaking, the cast of the 2001 version, such as Xin Baiqing, Yuan Quan, Tao Hong, Zhu Yuanyuan, Shi Yueling, etc., although they have just graduated from the drama school, they are already official actors in the drama theater. In the 2017 version, the lead actor is Jin Shijia, and the other actors are students of all grades of the Shanghai Theater Academy. But the performance is still difficult to find a ticket, especially the post-90s and post-00s audiences, like the new technology we use, instant shooting, instant editing. At that time, there was no 5G, we only had a switcher, the most feared is the signal drop, the drop will appear color screen color bar, we have about twenty or thirty performances, the drop seems to have been so once, most of them can still ensure the quality of the performance.
"Wild Ride" (Youth Edition) 2017 Shanghai Jing'an Modern Drama Valley performance stills
Why did I think of using "instant shooting" technology in 2017? In fact, the predecessor Tian Han inspired me, he was the first person in China to screen the Soviet film "Battleship Potemkin", let us appreciate the artistic charm of "montage" for the first time. Semi-cinematic real-time photography is also a tribute to Tian Han's participation in the process of Chinese film industry. It was the first time that "instant shooting" techniques were applied on the Chinese drama stage. This play was performed in Tokyo, Japan, where Tian Han had studied, and the Japanese counterparts were surprised by our technical means - 8 cameras were used on the stage to shoot, or wireless connection transmission, and the German theater counterparts at that time only achieved 6 cameras (shooting), and the image transmission was still wired.
Stills from "Wild Ride" (Youth Edition) at the Setagaya Public Theater in Tokyo
The temperament of the "Live Broadcast Founding Ceremony" technology is relatively strong, we will have some technology-related devices, and some installations will be invisible to the audience under the stage, and there will be instant shooting. This time it is still the use of staged video style, stage drama art is hypothetical, the interesting thing is that it is not as real as film and television, we try to distinguish it from film and television images, not to shoot in real terms. The drama performance of "Live Broadcasting of the Founding Ceremony" accounts for 60% or 70%, and the installation composition is only an auxiliary means.
5G Smart Theater "Combining Cinematography and Dramatic Effects"
People who don't know me may think that I am quite a literary person, but in fact, I am still a "technical controller". Around the world, Jobs, Lucas, and Spielberg are all in line with the times, connecting sensibility and reason, resulting in a new form of combining technology and art. These new trends, I am always paying attention to - may be a little genetic, my father was working in the Ministry of Railways Communication School Research Institute, when he was a child, there were a lot of things related to science and technology at home, I love to tinker, very fun. But my mother is a painter, and I spontaneously like the chinese artistic spirit, and at the same time I am interested in science and technology, and I am interested in the composition of space.
Stills from "China in the Story"
Nowadays, the combination of technology and art has appeared and been widely used in various industries and art categories, the film industry has long had post-production companies, and now virtual idols, VR, XR continue to expand, are the products of the combination of technology and art. "China in the Story", of which I am the chief director of drama, is an immersive presentation of "drama + film and television" filmed on multiple cameras and without shouting, which broadens the field of dramatic expression while contributing a new form of television program with scientific and technological means.
Stills of the drama "Red and White Rose" Picture from the official public account of the National Drama Theatre
Many of the stage multimedia we see are a scene on the stage, a little shadow on the scene, a little multimedia. However, in my opinion, the application of image technology in stage plays is not a relationship above the stage, but a relationship in which the stage drives the experience of all audiences, and it is related to all audiences. So when I didn't have the means of imaging, I was thinking about how to structure the relationship between the stage and the audience. "The Field of Life and Death" is the structural art of the film, parallel montage, breaking the "trinity" of drama; "Wild Ride" realizes the embodiment of five plays in one play; "Red Rose and White Rose" is completely a victory of the script structure, two Tong Zhenbao, two red roses, two white roses, the space of red roses in the past and the space of white roses in the present are carried out at the same time; "Beijing Fayuan Temple", I created three degrees of space on a stage.
Stills of "Beijing Fayuan Temple" Pictured from the official public account of the National Drama Theatre
Originally, I liked to do technological innovation in my personal works, and now as the director of the National Drama Theatre, I am bringing our academy to innovate together. In September this year, we released the news that the country's first theater integration "5G Wisdom Theater" with both creative ability and performance venues, the Mandarin Pioneer Wisdom Theater, will be completed soon. The intention is to break through the limitations of traditional theater and create a new experience of watching the theater.
In the case of a traditional small theater, the perspective of the first row may be on the same level as the actors. But if I sit in the coliseum, the first row is under the stage, the angle of view is the actor's feet, and the last row, I may see the actor's head or even the area above the head. The VR screen of the 5G smart theater does not have the defect of too low or too high a viewing angle, because it will surpass the perception of the best position and give people a different experience. According to the plan, this technology will be further updated by July 2022, and I can see more details on the stage through the movement of my head during the viewing process, continue to rotate, and possibly see the audience seat.
The "5G Wisdom Theater Joint Laboratory" was officially unveiled from the official public account of the National Drama Theatre
The combination of technology and art in the future will produce a new literary and artistic format, and we look forward to doing an immersive digital theater. The National Drama Theatre is also trying to balance offline performances with online performances. Offline performances can not be relaxed, because our core purpose is to hope that more people will enter the theater and see the real performances of the actors, and at the same time, the online performances should achieve a more perfect effect, and the film and drama effects should be combined.
Firm cultural self-confidence "Actors return to kung fu, troupes return to creation"
Chinese culture has a long history and can give us unlimited artistic nourishment anytime, anywhere. Personally, I like Chinese freehand spirit, "dressing up as a dragon and a tiger", rather than a real dragon and a real tiger on the stage. We seek goodness and beauty on the stage, not deliberately seeking truth. Chinese creators do not have to deliberately emulate the West in terms of structural space, as long as everyone returns, cultural self-confidence will be generated, especially in the combination of science and technology and art, five thousand years of civilization to promote, really better than them. That's how I feel.
Our architecture, culture, and art are all indescribably wonderful. Theatrical art is immersed in it, and the freehand spirit in Chinese culture nourishes the variability and fluidity in literature and art, such as the Three Realms of the Human Buddha Demon in "Journey to the West" and the Three Realms of the Human Buddha Demon in "The Legend of the White Snake", and the spatial structure is unattainable. All the artistic spirit in China is related to the artistic conception, and if the combination of technology and art is mastered, saying that the mountain is the mountain, saying that the water is the water, Chinese can understand, the artistic expression will be very smooth.
Stills of "The Field of Life and Death" Pictured from the official public account of the National Drama Theatre
It's been a long time since we've contributed a new art form to the world. In the spirit of Chinese freehand writing, if our science and technology and art can be skillfully combined, new forms of expression will be produced, and we Chinese continue to work hard, and in the era of more advanced and developed science and technology, new art forms will be produced for the world. This is what we want to do in the future, and we hope that There will be a group of outstanding artists and scientific and technological workers in China who will participate together.
The National Drama Theatre is an important town for the art of table directing, with many stars, dozens of first-line actors, and more than 100 familiar faces. Like Teacher Li Xuejian, he returned to the theater and greeted our uncle and the aunt in the mailroom, which left a deep impression on me; senior teachers like Liu Peiqi and Ni Dahong, whose work style is very rigorous; Liu Wei, one of the leading actors in "Live Broadcasting of the Founding Ceremony", will communicate with young actors in the background, reminding them where something is not right and what should be done, some actors love to look at mobile phones, he sometimes reminds, "The director talks, what do you do!" "Our artists will say that outside of the theater it may be a commercial process of actors, but back in the theater, this is where you forge yourself to be a good performing artist.
Like the United Kingdom, Germany, Russia are all theater countries, performance ecology is drama, without drama can not act in film and television works. For example, the United Kingdom has the tradition of Shakespeare, the theatrical environment is very good, many good actors are graduates of prestigious universities, from small to large, there is a cultivation of theatrical tradition, can go on the stage to perform drama, in order to act in film and television drama. "Roll Fu" plays Holmes, one mouth can feel that the line kung fu is very good, and the acting skills are extremely superb. I would say these things to young people, because the actors of the National Theatre have to have higher standards, and they have to be serious about returning to the theater to create.
Han Tongsheng spoke at the "Symposium on Strengthening the Educational Management and Moral Construction of Literary and Art Workers." The picture is from the official public account of the National Drama Theatre
Relying on capital operation, looking at young people looking beautiful, they think that they can act, without considering the preparation of the basic skills of performance, young actors will also swell because of the rapid results, but if the actors do not have real kung fu, they will not go long after all. Just to buy a house and land, the big guys run one thing to do, I think the meaning and quality of people who do this are not high. We need to correct our attitude, respect the ecology, and return to the essence of art, the actors back to your kung fu, and the troupe back to creation.
Editor-in-charge: Cheng Yu
Proofreader: Yan Zhang