Mention "Lin Huiyin", people always fantasize about her posture:
Xu Zhimo's unattainable dream lover; Jin Yuelin's lifelong confidant who has never married his side; Liang Sicheng's beautiful beauty.
Her whole life, her face to the public, seems to have never been able to get rid of entanglement with love.
And the real her husband Liang Sicheng traveled through most of China in search of ancient buildings, waded through the mud, slept on the camp bed, ate canned food, and crawled with fleas.
She is petty and romantic. In front of the code words in the quiet mountains and the ink water paper, she would always light a column of incense, set up a bottle of flowers, put on a white silk nightgown, and outside the window was a pool of lotus in the breeze in the garden.
She is gentle and virtuous. As a mother of two children, she maintains the life affairs of a large family - husband and son, serving the elderly, taking care of all trivial matters, and maintaining the relatives between Liang Lin's two large families.
She is intelligent and intelligent. At the age of 16, she traveled with her father throughout Europe, where she saw every cultural monument, museum and factory that was always visible. In the hotel, he read the poems of Tennyson, Hopskin, and Browning furiously, and also fanatical about shaw's plays, and Byron, Shelley, and Woolf were also very good, with an authentic Oxford tone. In the 1930s, she wrote love scripts, created the four-act play "Mei Zhen with Them", and began to write novels, short films and new poems during Xiangshan's convalescence, and painting was also a breeze for her due to the hard work of studying architecture.
Such a Lin Huiyin, under the prejudiced eyes of the public, makes people have to lament the narrowness of mediocrity.
However, true beauty, there will always be someone who will stick to it.
The opera "Lin Huiyin" is like this.
Lin Huiyin is the character that the producer and lead singer of the play, Chen Xiaoduo, fell in love with when she was a teenager, and it has lasted in her mind for more than ten years.
Due to her outstanding talent, Chen Xiaoduo entered the opera troupe of the China Opera and Dance Theater after graduating from the Opera Department of the China Conservatory of Music, became an opera singer, and often crossed over to the field of musical theater, playing the female number one in dozens of operas and musicals such as "Song of Youth", "In That Distant Place", "Mulan" and "Red River Valley".
Chen Xiaoduo has also been seeking to try on "cross-border", from the selection of "Me and You" with Chang Shilei as the Olympic theme song in 2008, to the "One Rose" neoclassical concept concert, which was also a producer and starring, to singing the theme music of Zhang Yimou's film "Jinling Thirteen Chao", she has always adhered to the concept of "everything can be used by me" and "exploring new styles of Chinese opera".
In middle school, Lin Huiyin was a particularly curious character for Chen Xiaoduo. Like most people, she knows her wonderfulness through Xu Zhimo.
Reading Lin Huiyin's poems shocked Chen Xiaoduo even more: "We wrote Lin Huiyin's "Lotus Lantern" and "Who Loves This Endless Change" into arias, one expressing her firm belief in her heart, and the other writing her thinking about life in the universe. ”
Lin Huiyin has a large number of potential audiences, people who remember the intellectuals of the Republic of China care, people who are obsessed with "if you are okay" and "the years are quiet" are also concerned, and people who are keen on celebrity gossip and anecdotes are more concerned.
From a commercial point of view, it seems natural that the text tends to take care of the "desire to buy tickets" of the latter two, and indeed some plays do this, such as the drama "Dear, Hu Xueyan" is more based on the legends of the jianghu, and the opera "Marco Polo" is attached to or fabricated the love of the male and female protagonists, and the movable type print "Jiaxuan Words" and so on. However, Chen Xiaoduo and the producer, the China Opera and Dance Theatre, chose another direction, with Lin Huiyin's lifelong pursuit and persistence in architecture and art as the main line of creation.
-The Coming-of-Age of Lin Huiyin -
・•・
01
# Rooted
In 2013, Chen Xiaoduo began to search for and persuade the creators who smelled like each other to participate. After experiencing difficulties in changing screenwriters and composers, general director Tian Qinxin, screenwriter Zhuang Yi, composer Jin Peida and others and Chen Xiaoduo formed the core creator. They discarded the unfounded but talked about anecdotes, and presented Lin Huiyin's life by crawling through the deeds and works of Lin Huiyin, Liang Sicheng, Zhou Peiyuan, Xu Zhimo, Li Ji and others.
▲ Stills of the opera "Lin Huiyin"
In order to accurately feel the script and choreography, they also visited the Foguang Temple, Yingxian Wooden Pagoda, Dule Temple, and many other lianglin and construction society survey sites, and consulted the Ming bible "Construction French Style" and so on. In the publicity before the premiere, the director who filmed the excerpt "Lotus Lantern" mv in the play also verified that Lin Huiyin's poem was created in 1932 "July and a Half", that is, August 16, which is not the July 15th in the general Lin Huiyin chronology, and the lotus lamp in the poem is the river lamp placed by the Obon Festival. And so on.
The roots of "Lin Huiyin" also have a deviant side. Chen Xiaoduo, who has long been immersed in the field of opera, is accustomed to hearing innovative and persistent debates, and also likes to dabble in different stage performance forms, "Lin Huiyin" finally gives her the opportunity to put her ideas into practice, such as: breaking the boundaries between opera and musicals, drama, opera, etc., using the advantages of multimedia in stage presentation, absorbing the body language of contemporary drama and dance performance, strengthening the inherent modernity of dramatic conflicts, and using loudspeakers due to changes in the venue and the current audience's requirements for hearing... On the other hand, her persistence is also clear: the most important temperament of the opera - its bel canto singing, symphony orchestra, kimono, chemical, Tao, beauty and so on together create a dramatic tension.
From the establishment of the main creative team, the determination of the content framework to the filling of the details, the opera "Lin Huiyin" has experienced more than three years of hard work and preparation, silently absorbing nutrition, secretly stretching in the land, and finally breaking ground in 2017.
02
# Grow
In less than two years after the success of the first performance, the play toured the country for about forty times, with a high attendance rate that is unique in the current commercial market for original Chinese opera. The audience has listened to the elderly people who have been taught by Liang Sicheng and Lin Huiyin, down to the primary and secondary school students, and everyone has received different things, many of whom are exposed to opera for the first time.
Some people rushed to Lin Huiyin's "story", but they were pleasantly surprised to reacquaint themselves with Lin Huiyin. As the play's slogan says: "What the opera "Lin Huiyin" is looking for is not the protracted sound of the previous era, but the spiritual resonance of this era." When Lin Huiyin in the play shouted out "Architecture... Together with thousands of other cultures, make China China. ...... If all this is gone, then who are we! ”
The creators of "Lin Huiyin" are probably not satisfied, so several performances in the past two years are not the same, and the script, music, choreography, costumes, and lighting have changed more or less. This may be its evolutionary history.
"Voting with your feet", survival of the fittest, used in the commercial market, is not excessive. This is also the process of interaction between the creator and the audience and the environment. The people who promoted the "evolution" of the opera "Lin Huiyin" included artists and critics in the circle, as well as various audiences, as well as the descendants of Lin Huiyin and Liang Sicheng.
After the premiere at the Poly Theater in Beijing, several of Liang Lin's descendants communicated with the crew about his/their perceptions, providing many real details while respecting artistic creation. For example, in a scene where Lin Huiyin and his mother quarreled in Li Zhuang, the first line mentioned Lin Huiyin's half-brother and martyred pilot Lin Heng, and Liang Lin's descendants said that Lin Huiyin had always regarded Liang Heng as her own, and there was no gap revealed in the play. In the following performances, the scene changed.
There are many similar changes. In terms of choreography, there are multimedia deletions and simplifications, and there are attempts to present light and shadow closer to the present in the "Faxi" after the discovery of tang dynasty wooden structures. Jin Peida also made some changes in music, and the overallity of the rhythm was more consistent. There are also many changes in the script, and accompanied by repeated debates among the creators, it is said that the screenwriter Zhuang Yi has been changing "Lin Huiyin" for three consecutive years during the Spring Festival holiday, while director Li Lixing laughed at himself as "about to collapse".
"Reader criticism" and "desire to survive" also allowed the opera "Lin Huiyin" to evolve in art and the market, even if it was occasionally mixed with some doubts.
03
# Bloom
At the end of January 2019, the opera "Lin Huiyin" went abroad for the first time and performed at the "Big Durian" Esplanade Inc. in Singapore. As can be seen from the stills, the stage effect has undergone another "evolution", and its English script is translated by Lin Huiyin and Liang Sicheng's great-granddaughter Liang Zhouyang.
The bloom of "Lin Huiyin" can be seen from this. Perhaps Chen Xiaoduo's experience as a judge in "Sound into People's Hearts" will also trigger her to think more. The Chinese Opera and Dance Theatre, which takes "One White and One Black" ("White Haired Girl" and "Little Two Black Marriages") as classics, deserves applause for its courage in exploring new markets.
The opera "Lin Huiyin", which has received praise and attention, will continue to tour overseas to tell everyone about those beautiful and moving perseverance.
Not only is the growth history of "Lin Huiyin"
It is also a brief history of the future of opera
At the end of 2018, when the zhengyi temple sent away the last audience, and at the beginning of 2019, when the peng artemisia theater was still struggling to maintain, Chinese original opera needed to explore and cultivate the market in change. When Chinese dramatists see the Vakhtangov Theater performing 700 times a year in Moscow, they must not only envy in their hearts, but Chinese opera singers have to do more.
Since the earliest surviving opera Monteverdi's Orfeo, the opera has survived for more than 400 years, and how long it will survive, who knows?
When we hold our breath in the high f of Chen Xiaoduo, the actor of Lin Huiyin, and feel the soul impact of the East Hall of Foguang Temple to Liang Sicheng and Lin Huiyin across the millennium, how long "Lin Huiyin" and the opera to which it belongs have to go, it is no longer important. Just like Fitzgerald, the protagonist of Herzog's film "Overland Boat", takes out a phonograph on the boat and lets Caruso's tenor echo in the Amazon jungle, human art is to the universe and nature.
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