Beijing**Client|Reporter Wang Run Fang Fei.
If you don't reform, you'd rather die!This voice, which spans more than 400 years and continues to come from the stage filled with historical smoke and clouds, is so unswerving and deafening, and also makes the image of a reformer who bears a historical mission but bears a tragic fate present between heaven and earth with the power of crossing yin and yang and transcending time and space, bringing endless inspiration and thinking to contemporary people. From the New Year's Eve performance on December 22, 2023 to January 14, 2024, Beijing Renyi's original new drama "Zhang Juzheng", which will be performed at the Capital Theater for 21 consecutive performances, is a unique historical drama, which completes a stage expression with the resonance of the times in a magnificent and atmospheric way, both poetic and philosophical, and shows Beijing Renyi's exploration and innovation of "Chinese drama nationalization" in the new era.
Fifteen years ago, Xiong Zhaozheng, a famous writer who created the drama "Sima Qian" for Beijing Renyi, reconnected with the drama because in 2010, Feng Yuanzheng played the eunuch Feng Bao in the TV series "Wanli Shoufu Zhang Juzheng" adapted by Xiong Zhaozheng himself, and the two agreed to put this work on the stage of the drama in the future. To this end, Xiong Zhaozheng finally completed the script of the drama "Zhang Juzheng" after four years and nine draftsFeng Yuanzheng personally directed and starred, and together with the young talent Yan Rui and the three generations of actors, as well as many artists in front of and behind the scenes, after three months of polishing, this original masterpiece with a unique style was presented on the stage of Beijing Renyi.
The drama "Zhang Juzheng" is refreshing from structure to narrative to stage presentation. The whole drama changes the linear logic and realistic techniques of traditional historical dramas, and uses bold imagination to start from the dialogue between the Wanli Emperor in adulthood and childhood, and Zhang Juzheng's name is "dead" as soon as it appears. In the play, the two threads of reality and non-reality are parallel and alternately narrated, showing Zhang Juzheng's inner world and the intricate relationships between the people around him in an all-round way. Zhang Juzheng on the road of reform is full of difficulties, and he is also struggling on the Huangquan Road, his soul and different characters intersect with each other in different spaces, looking back at his bumpy life and mental journey as the first assistant, and at the same time unfolding the reflection and interrogation behind him, which can be described as the heart of all beings with his own heart, and the image of a hundred years of thinking with the image of a day. The strong sense of historical depth leads the audience to cross the yang and the underworld, the rivers and lakes and the temple, connect the real and the imagination, and think more deeply about the power and game of this revolution and the new, as well as the historical value and practical significance of Zhang Juzheng's reform.
The stage visual of the play integrates the spirit of oriental classical aesthetics and contemporary aesthetic expression, and creates a highly poetic and imaginative theatrical space with a minimalist and smooth flexible style, making every scene as beautiful as a painting. The whole performance adopts the non-closing scene change, the stage changes with the scene, accompanied by the melodious **, like flowing clouds and water, between the virtual and the real, light and dark, yin and yang "silky" transformation, breaking the boundary between reality and imagination. Inspired by the eight red columns and three dragon chairs in the main hall of the Forbidden City, the entire performance space is constructed, and the gold brick floor, which can reflect the reflection of the pillars, comes from Feng Yuanzheng's unforgettable impressions left by visiting the Forbidden City during his childhood. The exquisite multi-** digital image also enhances the sense of depth across time and space, the Ming Dynasty experienced ups and downs between the ups and downs of time and history, revealing the magnificent column of imperial majesty, and the back is full of cracks and rot holes, full of symbolism. The brocade costumes, which can be called the "Ming Dynasty Fashion Show", are also both traditional and fashionable, with full and rich colors shining under the lights, with the vivid performances of the actors, highlighting the complex inner world of the characters.
Although there is no longer Zhang Juzheng in the world, the theme of reform will never go out of style. Just as the play cleverly interprets the "way of governing the country" with "playing with empty bamboo": whether it is shaking empty bamboo or governing the country and reform, it is necessary to use hands, eyes, and hearts at the same time, and must have a strong way, have a wrist, and understand balance;And the most important thing is to hold the "rod" and "silk thread" in your hand. And this traditional and innovative "Zhang Juzheng", with a good pattern and exquisite skills, shakes the upright and innovative "empty bamboo" on the drama stage into a beautiful atmosphere, extraordinary, and endless aftertaste.