The process of our growth
Maybe more commonality than we think
Last Saturday (January 9), when the third round of performances of the musical "Spring Awakening" in Shanghai was about to meet with everyone, the well-known director Zhou Ke, as well as the two lead actors in the play, Yang Shuyan and Hu Chaozheng, were guests of SAIC Shanghai Culture Square as sharing guests and chatted about "Spring Awakening" in their eyes.
The theme sharing session of the musical "Spring Awakening"
"Those Youth That Bloomed in the Theater" full review
A story of youth on stage
Unforgettable memories for each of us
The original German script of "Spring Awakening" was first created in 1891, and in the more than 100 years since its birth, this avant-garde play has even experienced the crisis of banning performances, is it simply because "Spring Awakening" has put on the stage the confusion of youth that everyone avoids talking about? What exactly is this show about?
On the surface, the whole story takes place in Germany in the 19th century, where social concepts are extremely conservative, and a group of young students are under pressure from family, school and society, facing various troubles in life, and suppressing many desires in their hearts. And these topics also break through the limitations of the background of the repertoire era, and at the same time exist in the current society. "Spring Awakening" reflects the youth problem of each of us: the process of awakening occurs, which is the process of constantly discovering and accepting ourselves in our growth.
For Yang Shuyan, who participated in the first round of performances of the musical "Spring Awakening" and returned this time, this play is more like a collection of youth group portraits - it brings together all the stories that many people experienced in their youth, and presents the best results and the worst results to the audience.
It is precisely this trait that makes this drama a microcosm of people's growth experience. What is played on the stage is not only the story of a certain character and a certain family, but also the youth experienced by all the audience. Under this premise, when "Spring Awakening" throws out some questions that are more worthy of discussion and deep consideration, young audiences are more likely to empathize with them, and thus trigger their own thinking about related propositions, thus leading the whole society to reflect on these profound issues.
Everyone has experienced their youth
Everyone can see their own "awakening"
Of course, this is not to say that "Spring Awakening" is a work created only for young audiences. In director Zhou Ke's view, the socialization issues touched on in the play and the "awakening" described are not only aimed at the young people in the play, but also throw the same problems to adults.
The reproduction of some plots in the play is directly related to some phenomena in the current society: whether it is the lack of care for their children by parents in the family; or the excessive expectations of parents bring huge pressure to children without self-awareness.
These highly reflective fragments can also help adults who have experienced youth, but gradually forget that they were once children in the process of growing up, bring emotions into the emotions, so as to identify with a character and believe in the story. With such an emotional output, the audience will be more active in thinking.
On the stage of "Spring Awakening", the actors are also trying to externalize their own feelings on the characters by combining their own life experiences, and further connecting with the audience emotionally.
For example, the role of Moritz played by Hu Chaozheng, the kind of "good for you" packaged in the name of "love" that he encountered in the "pressure cooker" family environment is also common in today's society. Through the different perspectives of children and parents, it is easier for the audience to see the contradictions that exist between family members. He said bluntly: "It is very hurtful for the actor himself to make a dramatic expression through the extreme way of suicide", but it is this extreme expression that ultimately pushes the role of Moritz to the dead corner of life, which can make the emotions more full and the conflict more moving.
Characters like Moritz can bring emotional resonance to young audiences, but also bring more thoughts about family, education, and parenthood to adult audiences. Combining everyone's different growth experiences and life stages to watch this play, everyone will have different reflections and feelings. That's the charm of Spring Awakening.
Musical
Of course, more stories can be told
Stage works that discuss serious societies seem to be more often presented in the genre of drama, so as a musical theater work that directly touches on serious issues, "Spring Awakening" has a more practical significance for the domestic musical theater market in addition to the performance itself, and to a certain extent, it also provides a different idea for musical theater creators.
In response to this problem, director Zhou Ke believes that since the birth of musical theater, this art form itself focuses on entertainment, and it is also more popular. However, with the development of the times, the aesthetic requirements of the audience are getting higher and higher, and various art forms are also breaking this barrier against each other. For example, many dramas now introduce musical elements and dance elements; at the same time, there are also many musical theater works that will focus on speech.
As the industry and audience continue to accumulate, the development of musical theater may need to seek more differentiated expressions. Just as the development of drama in the past two decades has experienced the audience slowly returning to the theater, to the gradual maturity of the market, and the beginning of the diversion of repertoire with different contents and different themes, with the continuous development and maturity of the domestic musical theater market, the audience group of musical theater has become wider and wider, and we can also see that many musical theater works are doing different attempts - appropriately reducing characters and enhancing the overall dramatic conflict, so as to dig deeper into some of the value cores of human nature.
In this regard, the foreign musical theater performance market and the domestic drama performance market have been in the forefront. For example, Yang Shuyan's "Bare: A Pop Opera" focuses on sexual minorities in church schools; director Zhou Ke's drama "Witness" describes the story of youth confusion of the second generation of north Korean defectors and immigrants. These are all worth learning from and learning.
We also believe that after the Chinese version of the musical "Spring Awakening", more and more such plays will appear in the future, bringing more differentiated performances to the audience.
This sincere sharing is accompanied by yang Shuyan's song "The Guilty Ones" to end, opening up a corner of the secret affairs of youth that are sealed in the play, which is like a gentle and irrevocable glimmer, revealing to us that this 130-year-old work is still directed at people's hearts.
Musical "Spring Awakening"
Do you remember the first tremor of your life?
80-580 yuan
When: January 21 to January 24, 2021
Venue: SAIC Shanghai Culture Square Main Theater
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