On August 24th, "From Cao Yu to Wanfang" Chinese Drama Spans a Century of Humanistic Dialogue - Shanghai Grand Theatre × Yanghua Drama Performance Season Poly Yanghua Liantai Drama "Thunderstorm" and "Thunderstorm After" Sharing Dialogue Action was held at the Shanghai Grand Theatre's Small Theater, and more than 60 audiences who will enter the theater to watch this Liantai opera from October 22 to 24 spent a pleasant afternoon with the main creator and guests of the play, talking about the centennial Fanghua of Chinese drama and the front and back of the stage drama "Thunderstorm" and "Thunderstorm". At the same time, tens of thousands of fans and friends across the country also watched the live broadcast of the event online through multiple platforms.
Thunderstorm
Thunderstorm I/II
Thunderstorms
After a thunderstorm
The stage dramas "Thunderstorm" and "After the Thunderstorm" were planned and started by Wang Keran, artistic director of Yanghua, in 2018. After repeated discussions and communication with wanfang, the writer of "Thunderstorm And After", in the 2019 "World Good Drama • Chinese Audience Discussion Week", Poly Yanghua's joint production of "Thunderstorm" and "After Thunderstorm" were officially launched. On the occasion of the 110th anniversary of Mr. Cao Yu's birth in 2020, the creation and production of yanghualian stage plays "Thunderstorm" and "After Thunderstorm" were officially launched and staged at the end of 2020.
Chinese drama should be based on Chinese audiences, and at the same time, it can absorb the essence of the world's creation, unremittingly tell Chinese stories, strengthen cultural self-confidence, vividly portray social development and changes, and give more people strength and hope.
Yanghua specially invited the famous French theater director Eric La Casscade to direct, and made Cao Yu's classic "Thunderstorm" and "Thunderstorm After" written by Wan Fang, who is also a playwright, into a continuous stage play, completing a cross-time dialogue and cross-cultural collision with Chinese and Western cultural backgrounds through the stage. After the first round of touring from last year to the beginning of the year, 19 sets of 38 performances have been staged in 8 cities across the country, and everywhere they go, they have set off a "thunderstorm fever", and the audience resonates in empathy and feels the power of classics.
This year, this masterpiece of continuous stage opera will make a strong return, starting the second round of tour covering ten cities, and will land in Shencheng for the first time from October 22 to 24, performing for three consecutive days at the Shanghai Grand Theatre, and will also be staged as the finale of the "Shanghai Grand Theatre × Yanghua Drama Season". In order to meet the Shanghai audience for the long-awaited first time, Yanghua Theatre and Shanghai Grand Theatre jointly planned and held a special action to share this dialogue, which warmed up the performance and deeply analyzed Mr. Cao Yu's great theatrical achievements and extraordinary significance in different eras, as well as the modern beauty, value and scheme of "Thunderstorm" and "After Thunderstorm" as classic new forces.
The sharing session is on-site
In the most wonderful dialogue session of this dialogue sharing activity, Xiaolu, the host of Shanghai Film Group, together with the main creators and guests, conducted a profound and warm "collision" with more than ten issues from online and live audiences on the themes of drama, classics, gender confrontation, inheritance and the beauty of the times.
Ms. Wan Fang, who served as the literary editor of "Thunderstorm" and the screenwriter of "Thunderstorm After" in this liantai drama, brought a unique perspective and experience as the daughter of Mr. Cao Yu and a female playwright. The star-studded actors in the drama "Thunderstorm" and "After the Thunderstorm", including He Saifei, who played Lu Shuping in the play, Tong Ruimin who played Zhou Puyuan, Liu Kaiwei who played Zhou Ping, Kong Wei who played Xuanyi, Li Zonglei who played Lu Dahai, and the outstanding young actors Luo Yongjuan, Zhang Heqin, Shi Wanchuan, etc. who participated in the play, everyone spoke freely, from the story before and after the stage of creating and rehearsing this liantai drama to the personality interpretation of each actor's role, as well as the life experience generated through this participation. People are more looking forward to what kind of new look and new feeling this work will present after a year of polishing and precipitation.
"Thunderstorm" Literary Editor & "Thunderstorm After" Screenwriter Ms. Wan Fang
"Whether the work has become a classic, I think there is only one criterion is time, some works live for a year, some things live for ten years, live in everyone's heart, live on the stage, live in the continued want to create it, and then take it to perform, determined by time, this is very simple."
Most of the plays I saw when I was a child, including on the stage in our country in the fifties and sixties, were realistic. When my father first created "Thunderstorm", he also created this work with realism. To this day, including the audience, including myself, we see all kinds of drama from all over the world. I think drama is very free, so I think the Yanghua version of "Thunderstorm" and "After Thunderstorm", whether it is aesthetic or expression, style, including the expressiveness of all actors, directing means and stage, I think there is a sense of modernity, if it is a classic, I hope it is a modern classic. ”
ask
Ask each actor teacher to tell me if there are any similarities between the role they play and their personality
Actor Kong Wei, playing The Ripple in "Thunderstorm" and "After Thunderstorm"
Always seeking freedom in "Thunderstorm," she feels that the warmth that the family has given her is not enough, and even says that it is draining her enthusiasm. I personally don't have the sharp side of The Ripple, I'm a more casual person, but I think the inner strength of the Ripple may be every woman has, but maybe I haven't encountered that situation, so I haven't been stimulated. But in the script, on the stage, I was completely aroused, my struggle, my desire, my beauty and my desire for love, I believe that my friends will be able to see it from the ripples on the stage.
Actor He Saifei, playing Lu Shuping in "Thunderstorm" and "Thunderstorm After"
First of all, I don't want to impose my subjective understanding of Shi Ping on the audience, I think that every audience who watches the play has his own subjectivity, and has his own unique understanding of the play and the characters, according to his experience, world view, aesthetics and so on. I thought, all I had to do was I get to know such a character. Shi Ping was touched by me, and when I was rehearsing, I was trying to understand her, and I felt that I was very happy as an actor to be able to rehearse "Thunderstorm" and "After Thunderstorm". I couldn't find anything similar to Shi Ping. My personality is to go with the flow, more recognized, and Shu Ping may also have a little. The biggest charm of drama is that as an individual actor, you can experience and feel that you can walk into different lives, which is the charm of drama.
Actor Li Zonglei, playing Lu Dahai in "Thunderstorm" and "Thunderstorm After"
When I first got the role, I was playing drums. Later, in the process of rehearsal and reading, I gradually understood the role and the script, and found what I and Lu Dahai had in common, which is what the director told me: Zhou Ping is a son, Lu Dahai is also a son, they are a father, a mother. He is two sides of the same body, and Lu Dahai is very sharp and very sharp, in order to protect his inner fragility. The similarity between me and the sea is that we are actually fragile, and the sea is in his dispute with his biological father and the collision of his own brother's body, which is the process of his self-belief gradually being destroyed and confused, which is my personal understanding, at least this is my machine to pull some symbolic and symbolic figures onto myself. So I feel more and more that such a classic work as "Thunderstorm" is unfathomable, and it has countless understandings of characters that can be tapped.
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Teacher Liu Kaiwei was in contact with drama for the first time, and he was in contact with a drama that was so classic and the contradictions and conflicts were very strong, so I would like to ask you what is your biggest difficulty in the process of rehearsing "Thunderstorm"? How did you solve it?
Actor Liu Kaiwei, playing Zhou Ping in "Thunderstorm" and "Thunderstorm After"
This is the first time in my life to participate in a drama, so lucky to be able to star in such a classic "Thunderstorm" and "After thunderstorm". It is true that there are many difficulties to challenge, from the beginning of the line to the top of the stage, and even how to stand and how to walk, every point is a challenge. It is different from my experience in film and television dramas for so many years in the past. Before, I was facing the camera except for the opponent, and I couldn't see anyone else, and I could quickly hide behind the mask of the character to perform. But as soon as I arrived at the rehearsal hall, all the shots were gone, and I was facing a group of very experienced and very senior stage artists, who were really nervous. From the first day I received the script, the first step into the rehearsal hall has begun to challenge, but fortunately I am very grateful to my colleagues, who have been with me and helped me practice my lines.
Actor Liu Kaiwei
Zhu Guang, a literary and art critic and editor-in-chief of the Xinmin Evening News Cultural and Sports Center, as a literary and art critic and at the same time a special insider of this liantai drama, interpreted and shared the new power of the classic.
Zhu Guang, literary critic and editor-in-chief of the Cultural and Sports Center of Xinmin Evening News
"I think that what transcends the times is called a classic, and it may have some characteristics of the times at the beginning of its birth, in line with the atmosphere of the times at that time, in line with the customs and customs of the time and some resonance of everyone, but its most essential thing is to grasp the nature of human nature."
What is a person? Everyone has heard a saying that literature is anthropology, in fact, drama is more of athroposophy, because the anthropology of literature is literal, and the anthropology of drama is all-round, drama is life, life is drama, so drama is people, people are drama. In the end, if you can present the complexity, subtlety, unfathomability and ineffability of human nature, it is a classic.
Good works in different eras in different forms to interpret it, can still see the author's own pursuit, is the expression of people, this is the classic, I think this definition is universal. ”
Zhang Xiaoding, general manager of the Shanghai Grand Theatre, expressed the importance of reshaping the classics for stage art to attract young audiences into the theater in the contemporary era from the perspective of shanghai theater industry.
"Recently, the Shanghai Grand Theatre is doing data statistics, under the epidemic, we have changed from pressing the pause button to resuming to now becoming a new normal, and there are constantly new works presented on the stage. Yesterday just launched the new season of 21 and 22, which is the most powerful work.
Our previous statistics have statistics about the age group of the audience, which is freshly baked, and then to be released in our annual report, I want to spoil it in advance, the audience of the Shanghai Grand Theatre in the last year, 21 to 40 years old audience accounted for our main force, close to 65%. So in the next performance scene, from paying tribute to the classics or revering the classics to reshaping the classics, we will expect the drama to give the audience more power, and this power will make us think more about the life we will face in turn, which is a very worth looking forward to. ”
Wang Keran, artistic director of Yanghua Theatre, and Zhang Rui, the Chinese director of Liantai Opera, also shared how to explore the new development and new strength of China's classic drama tradition through their works from the perspective of experiencing the creation and production of the repertoire.
Chinese director Zhang Rui
"First of all, we started this play last year at the height of the epidemic, and we invited the director team from abroad to come to China, thanking our country for its epidemic prevention policy, which prevented the virus and opened the door to producers and creators. As a dramatist, theater is one of the oldest craftsmen in the world, an industry in which it has not disappeared in any era, in wars, plagues, and in all recent circumstances. The most important means of expression for dramatists in the face of the times is to live in their profession. If in this day and age your profession is useful, it will inevitably survive and not be infected by any environment.
Second, all good works have only one purpose, and I hope that every audience can feel that we are alive in the work, and there is resonance, empathy, communion and a common sigh on the stage, which is particularly valuable. ”
After the dialogue and sharing action has come to a successful end, the second round of the national tour of the stage drama "Thunderstorm" and "After thunderstorm" is about to start, and will be on the stage of Taiyuan, Wenzhou, Zhuhai, Fuzhou, Huizhou, Xiamen, Shanghai, Kunming, Chongqing and Wuhan from the beginning of September to the end of November, bringing classic works, sophisticated productions and wonderful interpretations to audiences everywhere. At the same time, this is also a heavy answer sheet of the times that art creators have handed over to the century-old history of Chinese drama, which belongs to contemporary Chinese theater people!
Poly Yanghua lian stage drama "Thunderstorm", "Thunderstorm After"
Shanghai Railway Station
Show times
2021.10.22-10.24 14:00
Venue of the show
Shanghai Grand Theatre - Grand Theatre
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