"Painting" and "words" correspond to two dimensions, visual and auditory, respectively. On the evening of December 19, the Peking Opera "Deer Song", which premiered at the Wanping Theater, was such a feast for the senses.
The plot is based on the Dunhuang mural "Deer King Bunsheng Picture", which is the first layer of "painting" between Lu Ming and tradition. With the story of the nine-colored deer as the background, in the fairy tale, "Deer Song" cleverly integrates the aesthetic orientation of audiences of all ages with such a theme, which can not only allow children to perceive the complexity of human nature, but also allow adults to reflect on real life and self while being nostalgic for paradise.
Innovation based on tradition is not groundless, only when we really know what tradition is, it is possible to find modern development in the present. Whether it is the overall layout of the stage or the action design of the actors, "Deer Song" firmly grasps the expression of "freehand" in Chinese opera for thousands of years, and integrates new technical means such as many **, and puppets, masks and other expressions that are rarely seen in Peking Opera, which is another interpretation of the "painting" tradition.
*The "words" on the "words" are the biggest surprise that "Deer Song" gave me. The ** in the work has a very three-dimensional presentation, which is not only a dialogue between the ancient and modern Chinese tradition in the vertical context, but also a dialogue between the East and the world across space horizontally. In terms of singing, in addition to using the strong charm of the skin yellow cavity and the four flat tones to promote the plot and shape the characters, opera songs are also added as the theme of the characters throughout.
In terms of accompaniment, the traditional Peking Opera orchestra is behind the scenes, and in front of the curtain are placed hand plates, water organs, tambourine and other instruments to create an atmosphere. The drummer is still the conductor of the entire orchestra and controls the rhythm of the whole play, but he does not completely continue the traditional thinking of the Peking Opera Orchestra.
The jinghu is no longer the absolute main instrument, and the timbre characteristics of each instrument in the play have been fully exerted, and even the performance itself is a part of the stage performance, and the instrument seems to have become a character in the play.
Or the melodious and cold atmosphere when the pipa and the flute are in harmony, or the imminent outbreak of war under the majestic momentum of the drum in the lobby, the combination of musical instruments is completely flexible according to the needs of the plot, so it has a fuller sound level and more delicate emotional expression.
In the post-performance talk, the main creative team shared the behind-the-scenes story of the drama "Deer Song". In the creative process, the inspiration of the individual and the collision of the team's thinking are extremely crucial, and from every small detail, you can feel the enthusiasm of the creators for Peking Opera, as well as their own thinking on the topic of "tradition and contemporary" as a literary and artistic worker.
This may be an attempt to make Peking Opera more "fun", with new themes, new elements, and new **...But no matter how rich the form, tradition must be the cornerstone, and everything must be integrated with tradition. As for what to integrate and how to integrate, this is a question left to all creators, and we look forward to more excellent answers in the future.
Author: Angel Zhi.
Text: Zhi Anqi Picture: Photo provided by the organizer Editor: Xu Yang Responsible Editor: Li Ting.
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