Beijing opera types of facial makeup all over the sky, a city Changnian to do to play. The Fifth China Beijing Opera Art Festival is like a big carnival, is still attributed to the "no applause" calm.
Chinese opera has gone through the course of two years of development, as a "national essence", it is a symbol of Chinese traditional culture, history under the "Long-en," but at the end of the 1970s and early 1980s, short-lived After the upsurge of traditional drama, Peking Opera to gradually subsided. After that, no matter how vigorously promote national culture, carry forward the national arts, bearing a "heavy burden" of Beijing Opera no longer "Mei, Shang Cheng, Xun" during the "brilliant" and even "modern revolutionary operas" The period of "prosperity" has become the world scene only recall the subject.
Contemporary opera is faced with the history of Chinese opera has never had the peculiar situation: "the revitalization of the stage, the audience deserted," What Opera go from here? Where is the crisis of the opera? Come to an end, contemporary opera is to continue, "Cheng" or the beginning of the "break", it has become unavoidable and must face the problem.
October 20, "the Fifth China Beijing Opera Art Festival" was opened in Jinan. During the festival, more than 40 schools and troupes from Taiwan's 37 best productions and more than 4,500 staff his debut in Shandong Jinan, Qingdao, Zibo 8 of 74 theatrical performances, games, exercise and perform operas are the size of the previous opera The section most. On the same day, Qingdao Beijing Opera actor in Qingdao at the opening ceremony of the venue to display Wusheng appearance. Xinhua News Agency reporters Li Zi and Heng She
An actor was introduced to opera fans props. Xinhua News Agency reporters Li Zi and Heng She
Beijing Opera is the protection of static or dynamic protection
Beijing opera is a combination of different opinions on the Chinese culture, Chinese culture is the symbol of "national essence." However, in the form of old Beijing Opera Art and the slow pace has not quite fit the aesthetic taste of contemporary people, the creation of a single subject and a lack of new ideas, making the past 20 years staged opera productions, the traditional subject matter is still dominant, "the old play my old, old His old show ", modern life reflecting the spirit of the subject matter is difficult to see, many of the opera music and scenes configuration is also very monotonous. Opera inheritance and innovation has also become a bone of contention.
The Fifth China Beijing Opera Festival, one of the biggest bright spot is that "innovation", a number of operas and even into the orchestra, song and dance, musical, and other art forms. Peking Opera, "Zheng He" has command of the band's shadow, the traditional opera orchestra accompaniment and Western symphony orchestra concert on the same stage, the vocal chorus Celi side. Lu Meng, Zhang, such as the famous Peking Opera singing and traditional accompaniment of the orchestra played the grand-ming, Wu's original opera and song intertwined with the colorful, and even many young viewers are "fun screaming."
But there are also a number of viewers that the show is gone taste opera, full of jasmine "fragrance", some nondescript. "Modernization" of the prescription to reform opera, the script should be thinking of the times, philosophy, singing to be exposed sentiments, to symphonic music, and clothing to antique and art scene to luxury three-dimensional ... ... in an attempt to use these officers creation " Panacea "to make opera pace to keep up with the times to attract young viewers.
However, the actress Shu Tong said: "can not be separated from the traditional Peking Opera. Now there is a misunderstanding, the pursuit of 'beautiful new' thing. Opera production over the pursuit of external packaging gorgeous lighting, set into large, Changnian do play, posture, But to play down the performance. Look at the audience is the show's actors, sets, lighting, Wu Mei to be a little modification, but it can not dominate the proceedings. "
Chinese Arts playwright China Sea Qu said: "In the pursuit of modernization at the same time, it is necessary to maintain the characteristics of Beijing opera, the arts enhance the quality of Beijing opera is more like opera. For example, on the stage orogenic Gailou, and a pile of wood and steel, this is not a creation , Called the production, we often talk about the production of large, we now produce even as the creation of innovation. "
"Succession is necessary also to be innovative, innovation must be done on the basis of inheritance, if we continue to copy our traditional operas, and even less than the traditional repertoire of the original copy of the standards that would gradually make the Beijing Opera To be a 'living fossil'. "Vice president of the Shanghai Peking Opera Theater single leap forward," Beijing Opera in Beijing last name, each time Beijing is not the same as that Beijing must be something substantive, many phenomena are deliberately novelty, And even to appear on stage in Happy Valley, the ice-skating everything. If the traditional Peking Opera Dunong not the original, young people do not like to watch. "
Former director of the Tianjin Institute of Arts, the well-known Peking Opera Liu theorist group also argued that the issue of inheritance and innovation, first of all to respect the traditions of Peking Opera, "four of five Gong" is the law itself, in succession, we are far enough, so innovation On the lack of capital. If we only inclusive, non-use of this, what are fitted to the opera, causing indigestion, hurt the body, affecting four of five Gong law, it will make the traditional shape.
An associate researcher at the Chinese Opera Institute, said Dr. Chen Youfeng, opera art in order to adapt to the times, continue to be a reality in the accepted form of art appreciation instead of "cultural heritage" and the need for a breakthrough in form, content innovation. In the form of so-called breakthrough, that is to follow in their own art under the premise of the law to new, modern aesthetic elements and artistic concepts, as far as possible closer to the audience and the aesthetic distance. If the Qing Dynasty in the late actor Dan men and old women in order to highlight the "foot wrapped" walking "flirtatious" and "rock attitude", a fragile pursuit of the "sick" of the United States. As time progresses, more people enjoy a high up the health of the United States.
Content, the current Beijing Opera performance by the contents of most of them are still a number of "imperial phase will," "romantic" and the like, and truly reflect the real life of the few operas. This is also why the opera is not art for the young audience to accept an important reason. As a result, need to keep an open mind in the reform and development of the dynamic in the protection of Chinese opera, Chinese opera can not always live full of things, but also so that the opera always has aesthetic value, not just as the "Museum of Art" and " Art living fossil "has a value of the archaeological and historical heritage value.
Chinese opera has gone through the course of two years of development, as a "national essence", it is a symbol of Chinese traditional culture, history under the "Long-en," but at the end of the 1970s and early 1980s, short-lived After the upsurge of traditional drama, Peking Opera to gradually subsided. After that, no matter how vigorously promote national culture, carry forward the national arts, bearing a "heavy burden" of Beijing Opera no longer "Mei, Shang Cheng, Xun" during the "brilliant" and even "modern revolutionary operas" The period of "prosperity" has become the world scene only recall the subject.
Contemporary opera is faced with the history of Chinese opera has never had the peculiar situation: "the revitalization of the stage, the audience deserted," What Opera go from here? Where is the crisis of the opera? Come to an end, contemporary opera is to continue, "Cheng" or the beginning of the "break", it has become unavoidable and must face the problem.
October 20, "the Fifth China Beijing Opera Art Festival" was opened in Jinan. During the festival, more than 40 schools and troupes from Taiwan's 37 best productions and more than 4,500 staff his debut in Shandong Jinan, Qingdao, Zibo 8 of 74 theatrical performances, games, exercise and perform operas are the size of the previous opera The section most. On the same day, Qingdao Beijing Opera actor in Qingdao at the opening ceremony of the venue to display Wusheng appearance. Xinhua News Agency reporters Li Zi and Heng She
An actor was introduced to opera fans props. Xinhua News Agency reporters Li Zi and Heng She
Beijing Opera is the protection of static or dynamic protection
Beijing opera is a combination of different opinions on the Chinese culture, Chinese culture is the symbol of "national essence." However, in the form of old Beijing Opera Art and the slow pace has not quite fit the aesthetic taste of contemporary people, the creation of a single subject and a lack of new ideas, making the past 20 years staged opera productions, the traditional subject matter is still dominant, "the old play my old, old His old show ", modern life reflecting the spirit of the subject matter is difficult to see, many of the opera music and scenes configuration is also very monotonous. Opera inheritance and innovation has also become a bone of contention.
The Fifth China Beijing Opera Festival, one of the biggest bright spot is that "innovation", a number of operas and even into the orchestra, song and dance, musical, and other art forms. Peking Opera, "Zheng He" has command of the band's shadow, the traditional opera orchestra accompaniment and Western symphony orchestra concert on the same stage, the vocal chorus Celi side. Lu Meng, Zhang, such as the famous Peking Opera singing and traditional accompaniment of the orchestra played the grand-ming, Wu's original opera and song intertwined with the colorful, and even many young viewers are "fun screaming."
But there are also a number of viewers that the show is gone taste opera, full of jasmine "fragrance", some nondescript. "Modernization" of the prescription to reform opera, the script should be thinking of the times, philosophy, singing to be exposed sentiments, to symphonic music, and clothing to antique and art scene to luxury three-dimensional ... ... in an attempt to use these officers creation " Panacea "to make opera pace to keep up with the times to attract young viewers.
However, the actress Shu Tong said: "can not be separated from the traditional Peking Opera. Now there is a misunderstanding, the pursuit of 'beautiful new' thing. Opera production over the pursuit of external packaging gorgeous lighting, set into large, Changnian do play, posture, But to play down the performance. Look at the audience is the show's actors, sets, lighting, Wu Mei to be a little modification, but it can not dominate the proceedings. "
Chinese Arts playwright China Sea Qu said: "In the pursuit of modernization at the same time, it is necessary to maintain the characteristics of Beijing opera, the arts enhance the quality of Beijing opera is more like opera. For example, on the stage orogenic Gailou, and a pile of wood and steel, this is not a creation , Called the production, we often talk about the production of large, we now produce even as the creation of innovation. "
"Succession is necessary also to be innovative, innovation must be done on the basis of inheritance, if we continue to copy our traditional operas, and even less than the traditional repertoire of the original copy of the standards that would gradually make the Beijing Opera To be a 'living fossil'. "Vice president of the Shanghai Peking Opera Theater single leap forward," Beijing Opera in Beijing last name, each time Beijing is not the same as that Beijing must be something substantive, many phenomena are deliberately novelty, And even to appear on stage in Happy Valley, the ice-skating everything. If the traditional Peking Opera Dunong not the original, young people do not like to watch. "
Former director of the Tianjin Institute of Arts, the well-known Peking Opera Liu theorist group also argued that the issue of inheritance and innovation, first of all to respect the traditions of Peking Opera, "four of five Gong" is the law itself, in succession, we are far enough, so innovation On the lack of capital. If we only inclusive, non-use of this, what are fitted to the opera, causing indigestion, hurt the body, affecting four of five Gong law, it will make the traditional shape.
An associate researcher at the Chinese Opera Institute, said Dr. Chen Youfeng, opera art in order to adapt to the times, continue to be a reality in the accepted form of art appreciation instead of "cultural heritage" and the need for a breakthrough in form, content innovation. In the form of so-called breakthrough, that is to follow in their own art under the premise of the law to new, modern aesthetic elements and artistic concepts, as far as possible closer to the audience and the aesthetic distance. If the Qing Dynasty in the late actor Dan men and old women in order to highlight the "foot wrapped" walking "flirtatious" and "rock attitude", a fragile pursuit of the "sick" of the United States. As time progresses, more people enjoy a high up the health of the United States.
Content, the current Beijing Opera performance by the contents of most of them are still a number of "imperial phase will," "romantic" and the like, and truly reflect the real life of the few operas. This is also why the opera is not art for the young audience to accept an important reason. As a result, need to keep an open mind in the reform and development of the dynamic in the protection of Chinese opera, Chinese opera can not always live full of things, but also so that the opera always has aesthetic value, not just as the "Museum of Art" and " Art living fossil "has a value of the archaeological and historical heritage value.
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