Yangtze River Daily Wuhan client October 15 (reporter Wan Xuming) Since the 17th Chinese Drama Festival was held in Wuhan, it has not only become an exhibition platform for outstanding plays in the country, but also a communication platform for the development of drama creation. On the 15th, the "Building a Chinese Theater Director System - Chinese Theater Directors Art Summit Forum" was held in Wuhan, where 20 theater directors from all over the country, dozens of theater critics, theater theory experts, etc. gathered together to discuss the construction of China's theater director system and drama creation in the new era.
Put wings of poetry on Chinese drama
The scene of the Chinese Theater Directors Art Summit Forum. Photo by Xu Weiwei, reporter of the Yangtze River Daily
The theme of this forum is "Building a Chinese Theater Director System", in fact, the theater industry has long been calling for this issue, and in 2012, a special forum was held for this purpose.
Looking back on the development process of Chinese drama, director Wang Xiaoying said: "Realism in the field of literature and art is the foundation of Chinese drama, and in the innovative development of Chinese theater, realism needs to fly towards expressive aesthetics, and it needs to seek wings from the poetry of its own connotation. He introduced: "Since the 1950s, Chinese drama has begun to explore nationalization, and a consensus has been reached: the essence of drama is poetry. "Over the years, the creative practice of several generations of directors, the accumulation of theoretical thinking, and the heritage of Chinese art have made poetic imagery have the possibility of improving the overall aesthetic characteristics of Chinese drama and converging into poetic realism." He hopes that in the artistic creation of directors, poetic imagery should be consciously and purposefully explored and studied, so that they can finally construct a stage image that supports the creation of a holistic Chinese theater performance, so that "we can confidently stand on the world theater stage, hold high the banner of our national drama, and poetic realism." ”
Director Li Bonan believes that the Chinese stage theater directing system should have national style and national spirit, take traditional culture as aesthetic resources, take oriental thinking as the spiritual cornerstone, and take the consciousness of national aesthetics to command the method of practice.
The creation of revolutionary historical themes needs to maintain the original intention and hold sincerity
Forum participants filmed the scene. Photo by Xu Weiwei, reporter of the Yangtze River Daily
In the repertoire of this year's drama festival, the revolutionary historical theme is quite heavy. Huang Dingshan, a director with more than 40 years of military experience and who has created a large number of works on revolutionary historical themes, said: "We must maintain our original intention and hold sincerity. In the theme creation of revolutionary historical themes and heroic models and great men, the most important thing as a director is whether you believe it or not, it is the creative attitude, the creative process, and the driving force behind the creation. In the 1998 flood fight and wenchuan earthquake, Huang Dingshan was on the front line, he recalled: "When you personally experience, you will have respect for faith, blood, and the truth, goodness and beauty of people, and there will be real feelings." ”
But he also stressed that an important part of the creation is to "remove the halo", to find the empathy of heroes, heroic models and contemporary audiences. "To restore people to people, we must find the true face of the characters." As the director of the Peking Opera "Mother" at the Wuhan Peking Opera House, Huang Dingshan pointed out that in addition to reading materials and telling others, "you still have to go to life to find, to find expression in life, and to find to enrich your artistic imagination in life." Otherwise it is from concept to concept, from faith to belief. ”
The director has the determination to avoid the homogenization of the drama and the repertoire
During the discussion, many directors mentioned the problem of creative homogenization of "a thousand plays on one side and a thousand dramas on one side". In this regard, director Xiong Yuanwei called for "the responsibility of profession, the responsibility of art, and the responsibility of life." In his view, "China is a big country of opera, and more than 300 kinds of drama are valuable assets. Before directing each drama genre, the director should study it well and understand its laws and characteristics, rather than using the same set of methods for every genre, and cannot make more than 300 dramas eventually become the same. ”
Director Tian Mansha also found out with concern: "Many theaters are creating repetitive programs, and the whole creation is caught in a circular circle. She said: "The director must have artistic ideals and artistic responsibility, and must have his own artistic judgment and determination when choosing the subject matter." Some themes are suitable for reportage and documentaries, and are not suitable for expression in opera. Instead of using inappropriate themes to destroy the charm of opera, she believes that it is more important to give play to the characteristics of the genre itself, and in the process of co-creation with the Huangmei Theater Troupe in Hubei Province, the first thing the creators do is to find the source," When we found that "Tianxian Matching" has 9 versions of the score, we know that traditional opera is actually constantly changing, improving and supplementing. Therefore, the current creators should not simply subvert in the process of re-creation, but should be as careful as archaeology to find its contemporary value, and supplement and improve the parts that do not match the times.
【Editor: Deng Laxiu】
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