Recently, at the invitation of the China National Orchestra Society, Deng Jiandong took the core section of the first performance practice process "Second Creation" as the starting point from the perspective of a performer, combined it with the concept of "aesthetic purpose" in aesthetic theory, and guided by the interaction between the two, bringing a special lecture on "Talking about the Aesthetic Purpose of Second Creation - Taking 'Erhu Rhapsody' as an Example".
Once the creation laid the aesthetic background.
The second creation determines the aesthetic height.
Composed by Wang Jianmin, commissioned and premiered by Deng Jiandong, "First Erhu Rhapsody" came out in 1988, and 35 years later, "Sixth Erhu Rhapsody" commissioned by the China ** Home Association also came as scheduled with the stage of China's ** Golden Bell Award. Wang Jianmin's erhu "Rhapsody" series is the main line of his national creation, and he incorporated the breakthrough of erhu performance technology into the pre-conception of creation, breaking the shackles of traditional scales, making national characteristics and creative personality coexist, leading the erhu performance art into the fast lane of development. At the same time, the use of the untitled genre also expands the space for the performer's second creation of more free aesthetic creation. This series of works gradually highlights the "bone image" of the Chinese nation in the first break and then stands, and carries the "reasonable character" of Chinese bowstring art. This folk musical instrument has experienced an extraordinary 100 years, and has steadily moved towards the convergence of "elegance and common appreciation" under the national ** vision of the new era.
As far as the art category is concerned, after there is a clear division of labor between self-creation and performance, performance, as a second creation, gives fresh life to the first creation, and is also a medium connecting the creator (once created) and the appreciator (third creation). Under the dual role of the "aesthetic purpose" of creation, performance and appreciation, the performance link has become a "meaningful form".
The first creation is exhaustive, the second creation is painstaking work, in essence, it is a dialogue between people, sublimating people's thoughts through musical notes, and it is the crystallization of two lives. The performer is not a 'porter' or 'narrator' of the score, and fully respects that the first creation is the premise of the 'restoration' of the work, and whether the subsequent 'creation' of a new performance content is the meaning of the second creation. Deng Jiandong said that the original meaning of "creation" is to create something from scratch and give life to things, and the "creation" and "life" in ** are also a pair of interactive relationships. The end of the creation means the generation of ** text, which entrusts the creator's life feelings and aesthetic ideals. In the process of second creation, the performer's previous aesthetic experience and the hidden order in the current aesthetic dimension determine the depth of the second creation of the work, and it is also the most original part of the performance practice process. It can be said that the first creation has laid the aesthetic background of the first work, and the second creation determines the aesthetic height of the first work. The second creation is also a process of the performer's full devotion, a kind of comprehensive training that mobilizes "synaesthesia" and physical functions to achieve "heart-hand integration". The process of moving from static text to dynamic performance makes the second creation "create" into a comprehensive aesthetic activity with life, affection, meaning and rhyme. In this lecture, Deng Jiandong starts from the role of a performer and vividly restores the four stages of the second creation.
Desk preparation. Accurate interpretation of the text.
The performer's job is to analyze the parent body through 'reading and singing' when interpreting the text, capture the national genes in the text, and master the language materials to help us understand and interpret the work more deeply. Deng Jiandong said that interpreting the text is the initial stage of the second creation, and the performer should start from the creative background, cultural connotation, innovative concept, style, music structure, technical characteristics and other aspects of the accurate interpretation of the text. In the end, the aesthetic experience of the past, the aesthetic psychology of the present and the objectively existing text of the work are blended into a preliminary design concept.
When a performer comes into contact with a new work (such as a stylistic work), he needs to analyze the internal relationship between the melody and the style of the work in the process of reading and singing the music, and use imagination and association to establish inner hearing. For example, the "minor second", "minor seventh" and "minus octave" intervals in the text of "Second Erhu Rhapsody" all come from the ** material of Hunan Flower Drum Opera, and these special intervals may not be fully reflected in the linear melody text of Erhu. Therefore, the performer should not only read the melodic score of the own part, but also read the accompaniment score and the general score, in order to clarify the organizational structure between the multiple parts in the whole work, and think about what role the content of the voice plays in the interlaced and overlapping texture, what kind of concept and method should be used, how to make up for the limitations of the instrument through performance design, or more appropriately express the stylistic characteristics of the work.
Xi sight-reading. **Accurate representation of the data.
Deng Jiandong said that when the performer transforms his inner hearing and imagination of the ** work into actual sound through sight-reading, it is a process of selection and matching. The performer transforms the data presented in the text, such as time signature, tempo, dynamics, fingering marks, expression marks, special techniques and other symbolized information into specific performance movements, and completes the arrangement of musical phrases, sections, musical sinks and other large and small note units, and at the same time appropriately adds personalization to it. In the process of outputting ** data through the performance action, the performer will produce corresponding aesthetic images according to his inner needs, and flexibly change the performance context, choose the appropriate bow fingering, shape the back curve of the note form, and match the light and shade of the sound color according to the style and melody presented by the work. The elements used in this relatively free two-dimensional creative space must be very close to the aesthetic imagery generated in the mind, so as to unify the objective score information with the subjective cognition.
For example, in order to create a vivid dance scene in the Western Regions, Deng Jiandong said that in order to create a vivid dance scene in the Western Regions, the size design of the left-hand glissando tends to be "small", and the melody elasticity in the listening sense should be greater than the accuracy of the beat. The so-called "elastic rhythm performance under the premise of speed alignment" means that the syntactic progress in the development of Lesi should not be designed too conventionally, and the output of the left-hand ** expression should also avoid mechanical ...... as much as possibleSuch performance phenomena that process ** elements into random changes or elastic control according to the inner rhythm come from the perceptual experience generated in the closed loop between the performer and the **text, and are also the most critical factor of humanized **expression.
Run-in adjustments. Take it a step further in your thinking.
In the art of erhu performance, the left hand is passion, and the right hand is strength. Stylistic techniques embodied through the left hand, such as glissando, kneading, ornamentation, etc., are the main technical means to express the best style, and are an important part of the application techniques in the art of erhu performance.
The proper use of techniques such as portamento and kneading is mainly reflected in the sense of proportion of the design, which needs to be carefully and repeatedly. Different content and styles are matched with different left-handed techniques, just like using different condiments when cooking, and the selection of these materials and condiments should be consistent with the cultural temperament behind the work. Deng Jiandong took "The Fourth Erhu Rhapsody" as an example, the work uses the sonorous Northwest ** language to highlight the vitality of the loess culture, the style of the left hand is self-evident, and the design of the right hand bow should also have special considerations. The addition of the "inverted bow" design to the music seems to create a "sense of frustration" that is more in line with the characteristics of the regional language, and it is also through the change of the bow method to complete the reinterpretation of the inner rhythm of the music. From "sight-reading" to "running-in" is a process of in-depth and layer-by-layer argumentation, each time the big and small notes, the big and small chanting, the change of intensity between the rise and fall of the bow, and even the short length, stress, tone, and a series of delicate touches such as the slow speed, amplitude and frequency of the kneading of the strings, all reflect the performer's grasp of proportion, style matching and mastery of heat in the process of second creation.
Performance acceptance. Strive for excellence in self-breakthrough.
The process from the piano room space to the stage is comparable to the darkest moment at the beginning of Hongmeng, and almost all performers will fall into the reciprocating cycle of determining-negation-breaking-reconstruction of the way the work is interpreted. Every breath, every turn of a sentence, every body movement and subtle expression invested in the performance of the first are the details carved in the "thousands of times" with the original intention of respecting art. As written in "Fu Lei's Family Letter": "You say that you are always in the midst of contradiction and happiness, but I believe that without contradictions, artists will not progress, will not evolve, and will not go deeper, and there are contradictions that are the proof of vitality." "Understanding contradictions and conflicts is the key to artistic creation, just as how to correctly understand the interdependence between reason and sensibility. The excessive use of rationality will strongly oppress the natural attributes of the work, and the surging sensibility often makes the work go high and low, lacking connotation. "The seven criteria of timbre variation, intonation accuracy, detail accuracy, rhythm orderliness, emotion, beauty of movement, and overall integrity are the quantitative indicators I have set for myself. Deng Jiandong believes that an excellent performer must let the vigorous image walk under the exquisitely designed plot, and create the most vertical and horizontal flesh and blood under the unity of "emotion" and "reason", so as to achieve a high degree of combination of rational creation and perceptual creation.
* It is the 'great beauty' that points directly to the human heart, and the 'elegant purpose' is the aesthetic ideal of human beings. How do we design the best works to be ingenious, elegant, distinctive, ingenious, and extraordinary, and achieve the unity of 'truth, goodness and beauty', in fact, the ultimate point is the aesthetic 'sense of luxury'. Deng Jiandong said.
The definition of luxury in the fashion industry is: a temperament, from the higher class of "overlook". It is the aesthetic value proposition that people gradually realize that aesthetic activities under the mud and sand will create mental fatigue, and to prevent "aesthetic degradation". The art categories related to "beauty" are projected on each other, and the phenomenon of "bad money driving out good money" is like a mirror in the water. When the superficial aesthetic tendency continuously produces pleasure and interest, "aesthetic downgrade" is not just a simple transformation of beauty and ugliness, but also hides the disappearance of aesthetic taste, the lack of creativity and the overcorrection of obsessive innovation. **The real "sense of luxury", "aesthetic blankness" and "extreme details" in the world, corresponding to the "elegance, charm and timelessness" pursued by the traditional Chinese aesthetic values, means that it is contrary to the complicated patterns, and it is necessary to calm down to experience the taste and elegance, not kitsch, not catering, is "not afraid of clouds to cover the eyes" spirit, is a kind of strength that grows from the inside out.
Yang Xinyue text.