As part of the "Beijing International Music Industry High-quality Development Promotion Conference" forum project, from October 10 to 12, the China Intangible Cultural Heritage Music Summit Forum and Exhibition was held in Beijing. When discussing the theme of the localization and development of Chinese musical theater, musicians Xiao Ke and Ye Bei have a common feeling with practitioners and educators in the musical theater industry: the development of Chinese musical theater, copying Western standards may not work, and we must face our market and audience appreciation habits.
"Everyone is talking about how hot musicals are and how good the market prospects are, but I think there is demand, but the actual underlying forces are really too weak." Shi Peng, a professor and singer of the Musical Theatre Major of the Communication University, has a clear feeling in the front-line teaching, the art of musical theater is an imported product, and the current vocal methods, body language and other teachings follow the European and American methods, "but the European and American methods are not suitable for Chinese characters." ”
Shi Peng said that especially the singing method of musicals can bel canto, popular or even original, as long as it meets the requirements of expression, but now everyone advocates European and American methods. Moreover, there is a disconnect between the teaching of many schools and the actual market performances, and the content that students have learned for four years cannot fully meet the needs of the market.
The musician Xiao Ke is also deeply touched by this phenomenon, he established the Xiao Ke Theater and engaged in musical theater creation for many years, there have been several actors who have acted with him to perform musicals abroad, but came back but told him that acting abroad is "uncomfortable". "Every action is strictly prescribed by the director, and you have to take three steps to get from here to there while singing." Xiao Ke also understands that this is because the repertoire must be exactly the same for large-scale touring in different parts of the world, "but the biggest charm of theatrical performance lies in the freedom and improvisation on the stage, which negates the meaning of the drama itself?" ”
Xiao Ke feels that Western musicals have indeed developed many years earlier than us, "Respect for it is necessary, but it is not that it is good for every one, and all historical experiences and other people's experiences must be put in the environment of putting themselves in the shoes of others." Xiao Ke said that European and American people are used to speaking exaggeratedly and moving richly, "They sing forever on the bend, but it is difficult for us to allow a Chinese to sing like that with teeth and claws, we will feel very awkward." ”
The difference in aesthetic preferences between China and the West has aroused the attention of the discussors, and the musician Ye Bei also feels that things that are too standardized make it a little difficult for her to enter the state when watching the play. "Whether it's music, art or calligraphy, we still have to have our own breath, and the same is true for musicals, and I would like to see some more authentic works that are related to us." She feels that as long as the actor can do the basic skills well, works without a "frame of reference" or "template" can also impress people.
In Xiao Ke's view, works that conform to local temperament can go far in the market. He drew an analogy to the history of Peking Opera's early development from a drama team to a national essence, "It has no one to take care of, it can't make money today, it will have to starve, you must use your mind to earn money for tonight's meal, where you go all the way to where you act, and integrate many plays in the north." Xiao Ke said that the development of local musical theater is the same today, although many original works are not classics, but when they see works that can continue to perform and have a good box office, they will take them to learn and become their own teaching materials, "Rationally learn where the West is worth learning, but to speak Chinese, sing Chinese songs, write Chinese stories, and then play our emotions Chinese." ”
Source Beijing Daily Client | Reporter Han Xuan
Edit: Guan Yiwen
Process Editor Liu Weili