Co-sponsored by Beijing University of Foreign Chinese, Beijing Daluan Xiangyu Charity Association, and Tian Han Association, the exhibition "Ouyang Yuqian, Tian Han and Sino-Japanese Drama and Cultural Exchange" is currently on display in the library of Beijing University of Foreign Chinese. In this exhibition, a film of the drama "Guan Hanqing" performed by Japanese actors in Japan is eye-catching. In the spring of 1958, the dramatist Tian Han created the historical drama "Guan Hanqing", which was directed by the Japanese dramatist Chida Noriya the following year, and jointly performed by the Japanese Writers, Haiyuza, and Folk Arts Troupe. The successful performance of "Guan Hanqing" in Japan is the crystallization of the deep friendship between Tian Han and Chida Shiya, two dramatists.
丨Two leaders in the Chinese and Japanese theater circles.
Tian Han (1898-1968), known as one of the three founders of modern Chinese drama, went to Japan to study in 1916, and was influenced by Japanese and Western dramas. After returning to China in 1922, he and his wife Yi Shuyu founded the "Nanguo Semi-Monthly" at their own expense, organized the Nanguo Society, and carried out the theatrical movement. In 1930, he joined the "Left League" and became a leading figure in the left-wing theater movement. During the Anti-Japanese War, he was responsible for the artistic propaganda work of the Communist Party of China and always stood at the forefront of the theater movement. The theme song "March of the Volunteers" composed by him for the movie "Children of the Storm" was widely sung and became the spiritual symbol of the Chinese nation, and was designated as the national anthem of the People's Republic of China after the founding of New China.
Chida Noya (1903-1994) was a pioneer of Japanese drama, a famous director, actor, and theater theorist. In 1924, while studying at Waseda University's Department of German Literature, Chida became the first student of the famous Japanese theater company Tsukiji Small Theater, and participated in many expressionist and realistic plays. After leaving the Tsukiji Small Theater in January 1926, he joined the Marxist Art Research Society and the Avant-garde Theater Research Institute. In 1927, he went to Germany to study drama, and in 1929 he joined the German Workers' Theatre League. During his stay in Germany, Chida also met Liao Chengzhi, who was sent to Germany by the CCP at that time. He returned to Japan in 1931 and formed the Tokyo Theater Group the following year with Yoshi Hijikata and others. In 1944, he founded the theater company Haiyuza. During his 40 years at Haiyuza, he directed an average of nearly 10 plays per year. The Chinese plays he has directed include Tian Han's "Guan Hanqing", "Drama Spring and Autumn" co-written by Xia Yan, Song Zhi and Yu Ling, and "New Story Editing" adapted from Lu Xun's original work.
After the founding of the People's Republic of China, Tian Han served as the chairman of the Chinese Dramatists Association and the director of the Art Bureau of the Ministry of Culture, and Ouyang Yuqian served as the vice chairman of the Chinese Dramatists Association and the president of the ** Academy of Drama. In accordance with the instructions of the Prime Minister, they contacted old friends in the Japanese literary and artistic circles to promote Sino-Japanese theatrical cultural exchanges and promote the development of Sino-Japanese relations in the form of "theatrical diplomacy".
On September 27, 2023, the original physical drama "The Thousand Years of Figurines" (also known as "Awakening") was staged at the National Museum of China. The picture shows the performance scene. (*From China News Agency, Hong Kong).
Since the 50s of the last century, Chida has always been engaged in promoting cultural and theatrical exchanges between China and Japan, and has made outstanding contributions to enhancing the friendship between the Chinese and Japanese peoples. In November 1955, Chida also visited China for the first time as a member of the Japanese theater delegation. During the visit, the delegation signed the "Japan-Chinese Exchange Agreement" with the Chinese side,* and the Prime Minister proposed that Japan create an organization that could unite people from the literary and artistic circles. People in the literary and artistic circles, headed by Ouyang Yuqian and Lao She, signed the request for the establishment of the Japanese Chinese Exchange Association, and Chida and others agreed with the Chinese side to set up a Japanese Chinese Exchange Association in Japan. The Japanese Chinese Exchange Association was established in Tokyo, Japan on March 23, 1956, initiated by critic Kenzo Nakajima, dramatist Chida Isya, writer Yasushi Inoue, and composer Kui Kuma, with the purpose of "promoting Sino-Japanese exchanges in the fields of literature and art, academics, journalism, sports, etc., and promoting friendly and cultural exchanges between China and Japan". To this day, the association is still an important organization to promote the development of cultural exchanges between China and Japan. The current vice president and chairman of the association is the famous Japanese actor Kurihara Komaki, who is also a student of Chida Koya. In 1986, the 30th anniversary of the establishment of the Japanese Chinese Exchange Association, Kurihara Komaki visited China with the Japanese Haiyuza Theater Company and starred in the drama "Sichuan Good Man" directed by Chida Kasaya. In an interview with Asahi Shimbun** on February 7, 2024, "Kurihara Komaki: Theater Leads to Peace, Chida-sensei's Faith", Kurihara Komaki said affectionately, "It is my long-cherished wish as an actor to convey hope for world peace through theater, and it is also the ideal and belief of Chida-sensei. ”
丨Traveling together in Beijing: Tian Han and Chida are also friendships.
In 1955, after receiving a meeting with the president and the prime minister in Beijing, the Japanese theater delegation visited Shenyang, Tianjin, Shanghai, Guangzhou and other places, and returned to China from Shanghai on December 5. Chida went on a tour of Korea with the young group, and then returned to China, where he remained until January 13 of the following year. During this period, he played almost every day in Beijing and Guangzhou, visited the rehearsal halls and schools of various theaters, and interacted with his Chinese counterparts. Through this visit, Chida also formed a deep friendship with Tian Han, and also visited the Ming Tombs, Badaling and other famous places together. Tian Han once wrote a group of poems "Praise for Friends in the Japanese Drama World", one of which is "Chida is Yeshi". The full poem is: "The husband and wife are close to each other, and they often remember the spring of Beijing when they raise a glass." Looking back from the height of the Great Wall, the fog still envelops the east coast. The day hat and rainshirt are strapped, and the drama world has come from a hundred battles. Lu Lian cherishes the Thousand Autumn Festival, and Mo chases the Emperor of Hengliu and the tyrannical Qin. Not only recalling the past of traveling in Beijing with Chida, but also from the sentence "The husband and wife are clear and moving next to each other", you can also read Tian Han's respect for Chida and Kishi Teruko. Chida is also the wife of Kishi Teruko is a famous Japanese actress, and Chida is also doing her best for Sino-Japanese drama exchanges.
In 1956, the Chinese Peking Opera delegation to Japan, with Mei Lanfang as the head and Ouyang Yuqian as the deputy head and chief director, went to Japan to perform. At the farewell reception at the Imperial Hotel in Tokyo in July, just as Mei Lanfang and Ouyang Yuqian shook hands with the guests to say goodbye, the hall suddenly lost power and the scene was dark. In the atmosphere of surprise and tension, the tall Chida Shiya and his wife walked to Mei Lanfang and Ouyang Yuqian in the dark, protected Mei Lanfang and Ouyang Yuqian tightly in the middle, and said in a familiar voice: "Mr. Mei, Mr. Ouyang, please rest assured, it doesn't matter if we are by your side." Their warm protection deeply touched the Chinese dramatists, and Mei Lanfang once recalled this incident fondly in "Journey to the East".
From the photos of the Chinese and Japanese theater circles when the Japanese New Theater Troupe visited China in 1960, it can be seen that Kishi Teruko and Tian Han sat next to each other and had a very happy conversation. Ba Jin, who had also had dealings with Chida and Kishiko and his wife, praised him in his 1961 essay "After Watching the Matsukawa Incident": "The two of them have been living healthily and bravely for the good things in the world." There are many beautiful things in the world, needless to say, the friendship between the Chinese and Japanese peoples is one; It is another thing to call the complete destruction of imperialism and the early realization of lasting world peace; As Japanese people, of course, they prefer to build their homeland into a 'bright and beautiful society.'"
丨The response was good "Guan Hanqing" was staged in Japan.
In 1958, Kwan Hanqing was recognized as a world cultural celebrity. To commemorate the 700th anniversary of Guan Hanqing's drama creation, Tian Han created the drama script "Guan Hanqing". During his visit to China in October 1958, Chida learned that Tian Han's new play "Guan Hanqing" had been performed by the Beijing People's Art Theater, so he said that he would rehearse "Guan Hanqing" in Japan, and went to Renyi to collect information about the performance. When I returned to Tokyo, I started rehearsing the performance. From January 9 to February 22, 1959, "Kwan Hanqing" toured Osaka, Kobe, Wakayama, Kyoto, Nagoya, Shizuoka, and Tokyo, and was very well received. During the performance at the Shinjuku Daiichi Theater in Tokyo, NHK broadcast a live recording and television broadcast. The tour of "Guan Hanqing" in Japan was a great success, and Chida wrote a letter to Tian Han: "Since its premiere on January 9, it has been performed in Osaka, Kobe, Kyoto and Tokyo. Now Japanese audiences are talking about "Kwan Hanqing" on the train, on the street, in bars." He also mentioned that "because the plot of the play has a rebellion against the oppression of the rulers, interference with the artist, and opposition to the suppression of impeachment, the ** of the unjust trial is completely consistent with the current situation of Japan's revision of the law on the execution of police officers' duties, the Matsukawa incident, and the oppression of US imperialism, which has caused great repercussions." Li Zhiyan, who was Mr. Tian Han's secretary at the time, wrote in the article "Drama Guan Hanqing's Creation Sidenote" that Tian Han almost exclaimed excitedly while reading the letter: "This is indeed something I didn't expect." It can be seen that a realistic play, a play with a relatively profound ability to reflect the ideas of the times, its role and influence can even transcend the times and the country, and can have an international impact that is unimaginable to you. Tian Han also wrote a detailed account of the directors and cast of "Guan Hanqing" in Japan on May 28, 1960, saying that this drama "concentrates the rookies of the Japanese new drama industry", which aroused enthusiastic responses from Japanese audiences.
In 1959, when Japan staged "Guan Hanqing", it was Japanese actor Osamu Takizawa who played Guan Hanqing. From September to October 1960, China officially invited the Japanese New Drama Troupe to perform in China, and Osamu Takizawa came to China with the troupe as one of the deputy leaders. Tian Han gave a poem to Takizawa Xiu at that time, saying "Why should you look at Hanqing when you cross the sea", and wrote in a note that "Guan Hanqing, who has not been able to see Mr., is hated". It can be seen that Tian Han attaches great importance to the Japanese version of "Guan Hanqing" directed by Chida Shiya, cherishes the actors, and resonates with Guan Hanqing, a historical figure. Chida also compiled the ** compilation of "Guan Hanqing" performed by the Japanese theater troupe into an album and sent it to Tian Han. This album has been preserved by Tian Han's family to this day, and one of the stills of Osamu Takizawa (as Guan Hanqing) and Yamada Isuzu (as Zhu Lianxiu) was exhibited for the first time in this ** exhibition.
In the fifties of the last century, Chinese modern dramas were still a minority in Japan, and the script "Guan Hanqing" was selected for this joint performance, which is of great significance. Chida also put "Guan Hanqing" on the Japanese stage, which is the fruit of friendship born in the exchange of drama culture between China and Japan, the recognition of the spirit of "Guan Hanqing" by Japanese friends, and the mutual reflection of the "soul of drama" between China and Japan.
丨Hundreds of performances: "Liu Sanjie" moved to the Japanese stage again.
After "Guan Hanqing", Chida continued to run and create on the front line of Sino-Japanese theatrical exchanges, and devoted great enthusiasm to the cause of promoting the exchange of visits and performances between Chinese and Japanese drama groups. In 1960, Chida served as the deputy head of the performance of the Japanese New Drama Troupe to China, and was the organizer of the preparation of the performance troupe, and at the same time, he directed the drama "The Day the Stone Spoke", "The Dead Sea" by Tomoyoshi Murayama, and the recitation plays "Miike Coal Mine", "Okinawa Island", and "Record of the Struggle against the Japan-US 'Security Treaty'", presenting a Japanese theatrical feast to the Chinese audience. On October 5, 1960, Tian Han published "Cheer for the Japanese Repertory Theatre's Concert in China!" in "People**". The article praised the Japanese Repertory Theatre's performance in Beijing as "a small exhibition of rich and colorful Japanese drama art, and a good mirror of the life and struggle of the Japanese people today, which deserves our appreciation and reference." At the same time, he pointed out that the three recitation dramas directed by Chida are "both ideological and artistic", and said, "We will definitely seize the opportunity to learn from Japanese theater artists." We must move forward together and strengthen the brotherly relationship that fights for the light." At the end of the article, Tian Han also wrote four Chinese poems, "Evening Crane", "Dead Sea", "A Woman's Life" and "Three Recitation Dramas", based on the repertoire that was performed at that time, to congratulate the Japanese Repertory Theatre on its success in performing in China. The poem "Dead Sea" celebrates the fighting spirit of the Japanese working people as interpreted in the drama: "The eels are weak and frightened, and the shore artillery roars into the net. The air makes the fishermen sweat and sweat, and they have never been less hearted. The curtain lamp is generous to a few children, and the wind and rain call for an old man. The beautiful newlyweds have become a strong farewell, and the dying sea is raging". For the three recitation dramas directed by Chida Koya, in the poem "Three Recitation Dramas", Tian Han expressed his hope for a bright future through the content of the play: "Go to the demons in the Pacific Ocean, and then set a snare for our people." The boulder is difficult to wither and deviate from the grass, and the east wind blows angry waves. The prestige of the snake and the jackal has decreased, and there are many forces in industry, agriculture, and business. The progress does not stop, and the dawn will eventually shine on the mountains and rivers".
The visit of the Japanese Repertory Theatre to China also prompted Chida to further introduce Chinese theatre to Japan. In 1960, after Chida followed up the rehearsal of the Chinese Opera Troupe's first song and dance drama "Liu Sanjie" at the Wuhan People's Art Theater, he decided to move "Liu Sanjie" to the Japanese stage. After about a year of preparation, rehearsals began in September 1961, the script was translated by overseas Chinese Liang Menghui, revised by the Japanese poet Hiroshi Iwata, and adapted by ** Iebayashi Guang based on the original song of "Liu Sanjie", trying to retain the Chinese charm of the original song, while integrating the style of Japanese and Western music. The actors come from twelve art groups such as Fujiwara Opera, Matsuyama Ballet, and Tokyo Mixed Choir, and the famous Japanese singer Hiki Hayama plays Liu Sanjie. In February of the following year, it was held in Tokyo and Osaka, and a total of 10 performances were held in Tokyo, with an audience of more than 22,000 people. In 1963, the re-formed "Liu Sanjie" performance troupe toured all over Japan, with 200 performances in a year. Echoing the grand occasion of the opera "Liu Sanjie" staged in Japan, in order to congratulate the film "Liu Sanjie" produced by Changchun Film Studio on winning the best photography, best art, best ** and other awards at the 2nd Popular Film Hundred Flowers Awards, Tian Han wrote a poem "Gift ** Feature Film Liu Sanjie" on May 15, 1963: "The rivers and mountains are better than the song platform, and the dark clouds are sung for the first time, and the Lishui has been rhymed so far, and the sound of war is especially full of Penglai!" ", and attached a pen saying, "I wish it success and continued hard work!" ”。As a dramatist who stands on the front line of Sino-Japanese drama exchanges and an old friend of Chida Shiya, Tian Han must also know the success of the opera "Liu Sanjie" staged in Japan. The sentence "The sound of war is especially full of Penglai" in his poem can also be said to convey the joy and relief of going abroad and being warmly welcomed by the Japanese people for "Liu Sanjie".
丨Drama exchange after the 80s: Chida is also looking forward to his later years.
In her later years, Chida was still concerned about the future of theatrical exchange between China and Japan. According to the record of the famous performing artist and translator Yu Daiqin in "The History of Sino-Japanese Modern and Contemporary Drama Exchange", in February 1980, a delegation of Chinese dramatists visited Japan at the invitation of the Japan Chinese Exchange Association. Chita and Haruko Sugimura had a long talk with the members of the delegation, saying that the contemporary theatrical exchanges between Japan and China and the friendship between the two sides were established by Tian Han, Ouyang Yuqian, Xia Yan, and other predecessors and the older generation of Japanese dramatists, and hoped that the two sides would make joint efforts to continue and develop Sino-Japanese friendly exchanges, and in particular, guide young theater workers to inherit and carry forward the spirit of the older generation. In the years that followed, Chida also expressed his hopes and entrustment for the future of Sino-Japanese theatrical exchanges on many occasions.
In April 1981, the Japanese New Drama Delegation came to China for the third time, with Chida as the head of the troupe and the famous Japanese performing artist Haruko Sugimura as the head of the troupe, performing in Beijing, Nanjing and Shanghai. "The Wife of Hanaoka Aoha" with Kazuko Yoshisa and the fairy tale drama "Bunna, Come Down from the Tree" based on Mizumi Mian** were staged. It was well received by the Chinese theater community and audiences. At the same time, the Chinese Dramatists Association also awarded famous Japanese artists such as Chida Shiya, Osamu Takizawa, and Haruko Sugimura the title of "Honorary Members" of the Chinese Dramatists Association, thanking them for their outstanding contributions and outstanding achievements in Sino-Japanese theatrical exchanges.
In November 1986, to commemorate the 30th anniversary of the founding of the Japanese Chinese Exchange Association and the 30th anniversary of Brecht's death, at the invitation of the Chinese Dramatists Association and the China International Friendship Liaison Association, the eighty-year-old Chida led Japanese Haiyuza and Brecht researchers to visit China, and successively performed the German playwright Brecht's play "The Good Man of Sichuan" in Beijing, Shanghai, Guangzhou and other places, and then went to Hong Kong to participate in the international symposium sponsored by the Brecht Society.
The popularity of Brecht's plays in China is closely related to the exchange between Tian Han and Chida Shiya. In 1956, when Chida came to China to participate in the first National Drama Viewing Meeting, he noticed that most of the performances of Chinese plays followed the theatrical performance style of the Soviet dramatist Stanislavsky. He asked Tian Han about Brecht's introduction in China, and realized that Brecht was still little known in China at that time. He told Tian Han that in addition to Stanislavsky, China should also learn more about Brecht. From then on, Tian Han began to encourage the translation and introduction of Brecht's works. In 1986, Chida also performed Brecht's plays in China, and he also expressed his thoughts about Tian Han and his gratitude for his efforts to popularize Brecht's plays in China. During Chita's visit to China in 1986, he also wrote the drama "Nirvana of the Dog" created by China at that time using Brecht's theatrical concept. After watching the play, he said excitedly: "We have pursued and practiced Brecht's acting method for many years, and now we see that it has been creatively embodied in this play. ”
Throughout his life, Tian Han used drama creation to express his love and hope for the times, which can be described as the modern Guan Hanqing and China's "drama soul". Chida is also at the forefront of Sino-Japanese theatrical cultural exchanges, bringing excellent Chinese plays to the Japanese stage, behind which is the distant resonance of the "soul of drama" between China and Japan. Tian Han and Chida are also the "bridge builders" and "leaders" of Sino-Japanese drama exchanges. (ENDS).
*: Beijing Evening News.
Author: Zhang Dongyue, a master's student at the Beijing Center for Japanese Studies, Beijing University of Foreign Chinese.