Jimu News Reporter Xia Yu
Correspondent Wang Xu
On the evening of September 11, the red opera "No. 41 Sanjiao Street" was brilliantly staged at the Wuhan Theater, and on the morning of the 12th, the drama seminar was held in Han. Dozens of experts and scholars in the field of music and art and literary and art criticism, including Jiang Kun, chairman of the China Ququ Association and a famous cross-talk performance artist, gathered together to support this quyi drama that has changed its manuscripts, produced new, brilliant, and reappeared.
This red-themed drama is different
"It is said that in Wuhan in August 1927, the weather was hot, stuffy and wet..." On the side of the stage, the storyteller wearing a blue cheongsam slammed into the wake-up wood, and the audience was shocked - what did the old Hankou experience in the sweltering heat of 94 years ago?
Was it a gunshot that shattered the streetscape? Is it a mournful death that pauses the comical outburst of laughter? Or is it the earth-shattering Hubei drum that announces the awakening of the people, and the new way out pointed out by the Communist Party of China is ahead...
"No. 41 Sanjiao Street" is guided by Hubei Provincial Federation of Literature and Literature, Hubei Provincial Qu Artists Association, Wuhan Municipal Bureau of Culture and Tourism, and created and performed by Wuhan Rap Troupe. Named from the site of the "Eighty-Seven Conference", with the old Hankou people covering the smooth convening of the "Eighty-Seven Conference" as the starting point, it shows the story of the small people and music artists who are called "thrown out of the mud by the lady of the woman", who have lofty ideals and even are not afraid of sacrifice.
Ye Li, associate professor of the School of Letters of Wuhan University, after watching the performance on the evening of the 11th, lingered on the Wuhan Theater for a long time and did not want to leave, because it was the place where she swore an oath to join the party 20 years ago, and the "No. 41 Sanjiao Street" staged there also poked her tears, "Ordinary civilians in such a time and space, the good life he really begged for has become our reality today." ”
Different from the general red theme drama, "No. 41 Sanjiao Street" combines quyi and drama, and intersperses the quyi projects of the national intangible cultural heritage, Hubei Commentary, Hubei Big Drum and Hubei Xiaoqu in the play, so the whole play has tears and laughter; there are stories and cultural inheritance.
However, how to tell Chinese stories well, while revitalizing the traditional stage of quyi and making quyi opera a mobile "museum", is the focus of the participating experts.
Yang Xiaoxue, deputy director of the China Literary and Art Criticism Center, summed up the feelings after viewing in three words: "Lifting a weight is light": using quyi to make a grand narrative; "crying and laughing as a play": there are tears in the laughter of the whole work, and it is also harmonious; and the technique is equally important: no skill is no art, and it gives full play to the advantages of Hubei qu art, regional culture and dialect. "Overall, it was really a very successful attempt. Because Quyi is a traditional art, it has inertia and inertia, and it has the rationality of its existence and a certain continuity to a certain extent, so the innovation of our quyi is often very difficult and requires such courage. ”
A good opera must also be "just young people"
In addition to Yang Xiaoxue and Ye Li, Qiu Zhengang, director of the Criticism Department of China Art News, He Guangyao, director of the Party History Research Office of the Hubei Provincial Party Committee, Lu Ming, vice chairman of the Hubei Provincial Federation of Literary and Art Circles and chairman of the Hubei Qu Artists Association, and other experts and scholars from party history research, qu art creation, literary and art criticism, cultural tourism, news dissemination, and colleges and universities gave full interpretation, affirmation and expectation on the selection of the theme and the level of arrangement of "No. 41 Sanjiao Street".
In fact, opera is not a new thing. According to Yang Xiaoxue, before the liberation, the Chang brothers' Qiming Tea House rehearsed a number of cross-talk dramas to attract audiences. In the 1980s, the Beijing Qu Art Troupe also drew nourishment from dramas and arranged a lot of makeup cross-talk (cross-talk forms that require cross-talk actors to make up, divided into two types: painting makeup in advance and "dressing up" on stage due to cross-talk needs, and the number of people is mostly more than a dozen or even dozens). Later, lai Shengchuan's "That Night, We Say Crosstalk", which was quite influential on both sides of the Taiwan Strait. At present, The "Quancheng People's Home" of the Jinan Qu Art Troupe, the "Old Street" series of the Henan Qu Art Troupe, the "Lin Huiyin" of the Shanghai Critics Troupe, and the "Surprise of one shot shooting" and "Blossoming on the Bar" of the Wuhan Rap Troupe are constantly appearing and advancing.
How to become a "first-class work" on the way of exploration, was affectionately lamented by everyone at the seminar: "I grew up watching Jiang Kun's crosstalk!" Jiang Kun, a Buddha-figure and leader in the field of qu art, expressed his views.
While praising "No. 41 Sanjiao Street" for being creative, accurate in direction, and serious in performance, and reflecting the pursuit of art, he pointed out the viewpoint of "youth", "The old man loves to hear this, but we must lead young people in." There must be more vivid and more vivid times. ”
Jiang Kun also stressed that the expression of lines needs to be more colloquial, he sang the northwest singer Zhang Ga's "Zhang Laohan" on the spot: "His eyes of Zhang Laohan are also a treasure, I want to put the "News Network" back then, I have watched a lot, and now he is old, he is old, even that Mao'er, he can't see..." Jiang Kun said, "What we have to do is not to label the music elements on it, but to cross-integrate in the plot, and use the short language of the parents to narrow the distance between the audience." Why are Zhang Ga's works chased by tens of millions of fans on the Internet? Because he used the most indigenous language. (Photo part courtesy of Zeng Rui)
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