"Whether the works are good or not, every audience has a scale in their hearts, and what the audience can remember is the works with depth, strength and temperature." Tian Qinxin, member of the National Committee of the Chinese People's Political Consultative Conference and president of the National Drama Theatre of China, said in an exclusive interview with this reporter yesterday. After decades of working on the theatrical stage, Tian Qinxin has always been committed to using innovative stage techniques to tell Chinese stories and show the Chinese aesthetic spirit. In recent years, she has begun to pay attention to the empowerment of literary and artistic creation by "Internet +", and is committed to promoting the "new value-added" of traditional culture and theatrical art.
▲Drama "Gu Wenchang"
"Art communication is entering an era of cross-field and cross-media integration, and literary and artistic works will continue to give birth to new forms in form, content, mode and presentation method." Tian Qinxin believes that today's literary and art workers should be good at using modern technology and innovative perspectives to do a good job of Chinese expression, so that cultural dissemination and experience are younger, more contemporary, and more deeply rooted in the hearts of the people. This year marks the centenary of the founding of the Communist Party of China. Tian Qinxin is leading the National Theatre of China to prepare for the "Red Performance Season". "The Branch Is Built on the Lianshang", "Three Bays, That Night", "Gu Wenchang", "Hero's Age" and many other red-themed works will be performed in a concentrated manner. In Shanghai's "Big World of Performing Arts", the large-scale artistic multimedia stage play "Red Starting Point" with her as artistic director will start a national 100-performance tour after the second round of performances.
"Only by grasping the characteristics of the times can we make the 'main theme' more popular." Tian Qinxin said that when the world pays attention to China, artists should show their keen insight and fully understand that the era in which they live is a new era, "we must be sensitive to the progress of this era, sensitive to the characters of this era, and sensitive to the people of this era." Our 'main theme' can enter thousands of households with our Chinese and high-spirited way and cutting-edge technology. ”
With the rapid development of Internet technology, in recent years, the "line stage broadcast" of Stage Art in China has gradually shown the characteristics of large scale, wide range of dissemination and many influences. The new crown pneumonia epidemic in 2020 has forced the accelerated integration of online and offline performing arts. During this year's Spring Festival holiday, art institutions in Beijing, Shanghai and other places have launched "on the clouds" New Year performances. Taking the shanghai grand theatre's first online performance season "Tour Station Zero" as an example, it received a warm market response, with paid users increasing by more than 60% and Weibo topic reading increasing by more than 5 million. The charm of theatrical art breaks through the limitations of traditional theater and breaks the "screen" out.
▲ Tian Qinxin in filming
The channels of performance and dissemination in the "multi-screen" era have been greatly expanded, and Tian Qinxin believes that the "upstream" of the performing arts industry chain and the creative link are also undergoing drastic changes. In recent years, she has been working on the theater stage for decades and has begun to devote herself to the cross-border integration of stage art and television media. The first and second seasons of the CCTV variety show "China in the Story" and "China in the Classics" of which she served as the chief director of the drama continued to be popular, with a variety of lively and innovative performance techniques such as theatrical performance and high-tech stage technology, so that traditional culture entered the contemporary screen from the "old paper pile" and "ivory tower", especially arousing the strong resonance of young audiences. Through the innovative approach of "drama + television", the two seasons of "China in the Story" integrate theatrical interpretation and historical telling, setting off the audience's love for classic film and television, Chinese stories and heroes. There are 13 realistic Chinese stories such as "The Eternal Radio Wave", "Ordinary World", "Lin Hai Snow Field", "Eternal Life in the Fire", etc.; Huang Wenxiu, Zhong Nanshan, Nan Rendong and many other models of the new era come vividly and vividly, injecting upward and good power into the Internet and the screen.
"The combination of online stage broadcasting and high-tech will promote stage art to achieve curve overtaking and iterative upgrading." Tian Qinxin pointed out that the innovation of technology and hard equipment will bring a series of fission to the performing arts industry. In the innovative combination of stage art and television art, the application of high and new technologies in creation, production, performance and other aspects will create a new explosive point in aesthetics. According to the latest statistics, the program's network video playback has exceeded 140 million times, and weibo-related topics have been read more than 700 million times, becoming a phenomenon-level communication product. In the first issue of "Shang Shu", the program production realized a dialogue of 4,000 years through a fixed theatrical stage, a main line of book inheritance, and an image of a life-saving book. The intervention of cutting-edge stage technologies such as ring screen projection, AR, and real-time tracking has created a feeling of crossing historical time and space, allowing young audiences to "know where to come from and where to go", and feel the long history of Chinese culture.
"The integrated development of online stage broadcasting and offline performances has gradually become a new form of art communication, and in the future, it will provide more space for the integrated development of cultural tourism." In the proposal of this year's two sessions, Tian Qinxin suggested promoting the landing of "double performance" software and hardware to accelerate and improve the industrial ecology. Taking Beijing's Qianmen East District as the starting point, it brings together outstanding literary and artistic creation groups, performing arts resources, regional historical and cultural resources and various social funds, absorbs and draws on foreign performing arts achievements, and jointly creates a "test area" that integrates offline performances and online performances.
Author: Tong Weijing
Editor: Chen Xihan
Editor-in-Charge: Fan Xin
*Wenhui exclusive manuscript, please indicate the source when reprinting.