The costume suspense detective drama "The Case of Tang Di Gong" is being broadcast on Youku. The play is adapted from Gao Luopei's name**, and the whole play is based on the layout of unit cases, and the nine strange cases are independent of each other and echo the main line. A few days ago, Zhao Hai, the art director of the play, said in an interview that the work done from the perspective of art professionals is to present the atmosphere and mood of the story itself, giving the director and actors an atmosphere that can cut into the scene, and it is inseparable from the most basic Tang Dynasty architecture and aesthetic style. For the design and consideration of the scene of "The Case of Di Gong of the Tang Dynasty", Zhao Hai said that the Tang Dynasty was a particularly important period in the history of China, and a large number of materials were also searched when designing the scene at the earliest, including some Tang Dynasty paintings, Dunhuang murals, and the content on the Silk Road, and the Western Regions elements were also adopted in the construction of the scene. The props are based on artifacts excavated from Famen Temple. "The Case of Di Gong of the Tang Dynasty" as a whole uses red as the main tone to interpret the Tang Dynasty, and some props such as screens and costumes will give the audience a more gorgeous feeling. The color is chosen according to the plot, the same is red, the red of Chang'an and the red of Lanfang are different, Lanfang is close to the northwest, and the traces of erosion are relatively strong by the years; When it comes to the place of singing and dancing, red is more bright red, bright red, and more prominent, distinguishing the same color at different levels. "The audience can see a very rich scene of various classes during the Tang Dynasty inside. "Even though they are all places of singing and dancing, they vary depending on the location and the identity of the characters. Zhao Hai took the scene where Cao An was located as an example, Cao An was a geisha herself, so she used more bright colors in the scene she was in. And it is also this kind of place of singing and dancing, the "Red Pavilion" unit in the play takes place in Lanfang, this place is mainly dark red, after all, it was far away at the border at that time. "The choice of colors is mainly different in terms of the degree of old and new, light and shade. ”
The scenes in the play use a lot of red, but there are differences.
The regional differences are equivalent to many different locations involved in a road movie "The Case of Di Gong of the Tang Dynasty", with Wu Zetian's palace, dormitory, and imperial palace in the play, as well as scenes that reflect the market class of Chang'an, Luoyang, Lanfang, and Penglai at that time. For example, the design of the palace scene, because Wu Zetian and the emperor are going to appear, actually uses the Qin Palace in Hengdian, and uses a large space, black and gold to highlight its solemnity and magnificence, to reflect the symbolic space of royal power. Zhao Hai introduced that in the design of specific scenes, from the perspective of art, it is divided into vertical and horizontal scenes, vertical refers to the characteristics of no matter which dynasty, especially in ancient China, there is a division of classes, kingship, commoners, and warlocks The state of each class is different, and the scenes implemented to them are also different. For example, how high the threshold of the third-grade official is, how many steps it is, it is completely different, and in the process of selecting the scene, it will be completed as much as possible according to this standard. In terms of color, such as gold, it is not something that ordinary people can use, so it is really implemented in the people's homes and some market classes are more primitive colors, without too much decoration and carving.
The props in the play imitate the Tang system.
Horizontality: It is a change in the scene in a geographical area. For example, the desert in the northwest and the yellow sand flying in the sky, these scenes are desolate and expansive, and they use a lot of soil, which adds to the atmosphere of the northwest. In the south, the scene has bamboo forest paths and water's edge, showing the humid and mild atmosphere of the south. In Zhao Hai's view, the difference in horizontal geography in this drama is equivalent to a road movie, because of the change of Di Renjie's position and task, he has to go to the seaside and the northwest and travel everywhere. For example, he went to several places with workplaces and county offices, so when he was doing scene design, different elements were added according to the changes in the place, such as the Northwest Lanfang, which used adobe bricks from the Northwest to build this scene, and finally presented the audience with a rough and simple texture in the Northwest. When you arrive in Penglai, because Penglai is close to the sea, the vegetation in the yard will be very different from Lanfang in all aspects. "* Case 1:1 built an ancient ship of the Tang Dynasty Zhao Hai took the ** case, Chaoyunguan, and Yushi case as examples, and the scene construction also had their own considerations. Among the nine cases in the play, the ** case is a more important unit, and the story mainly takes place in Penglai, with elements such as docks and sea boats. The crew built a complete ancient ship of the Tang Dynasty in a 1:1 ratio in a studio with an area of 6,000 square meters, the hull is about 70 meters long, and the scenes on the ship are not completed through CG special effects, but rely on real scenes and physical special effects.
The scene of Chaoyunguan is also very distinctive, it is a temple on the surface, in fact, there is an underground palace, in Zhao Hai's view, through the use of stage methods to show the eerie and terrifying characteristics of the underground palace, with symbolic significance of the clay sculpture in the mud wall struggling to get out of the scene, very visual impact. In addition, there was a challenge in creating a snow scene in this scene. Zhao Hai said that because the whole crew was filming in Hengdian at that time, there was no snow at all, and the presentation of the snow scene was very important to reflect the north-south span of the play. Zhao Hai mentioned that the scene of the Yushi case has an "unreal" color, which is also very attractive. First of all, the Yushi's building has not been processed, and it is a four-story building built directly on the spot. In addition, the bird that appears in the story is very impactful, it is large and beautiful, it is a symbolic bird, which plays a role in deepening the audience's impression and also reinforces the meaning of a poignant love story itself.
Beijing News reporter Liu Wei.
Edited by Tong Na.
Proofread by Zhao Lin.