Shaoxing opera a national theater, especially the young playwright's attention. Writers in the class that I once said that 2010 is the second phase, I want to share with you the content, mainly combined with my years of theater work, combined with the actual creation of prosperity drama script writing and the problem should pay attention to talk about, including the three aspects.
drama and theater life crisis
current dramas, especially in the Creation of the status quo, there are difficulties and challenges of economic globalization and cultural diversity of needs, most of China Traditional Opera typical aesthetic way, the plight of bears Opera important to life, adhere to the creators of opera has important cultural and artistic value.
Chinese opera that spans a broad selection of ancient times, both the royal spring snow, but also the parents of ordinary people in the short. Gordon was the halls of men of letters obsession; Entering the street, illiterate people from the bottom of the text in the known history of drama, learning culture. Shen Yun Chinese Opera essence of traditional culture, embodies the most unique Chinese aesthetic qualities, the stage above the table, two chairs, deeply honored to, depends on actors performing a high degree of artistic expression to create a dramatic situation and the characters live .
a long period of time, opera has been in the Chinese social life and aesthetic activities to occupy a very important position. With the rise of modern civilization, the last century, the introduction of Western culture a lot, become more diverse entertainment, Chinese opera significantly change the living environment is facing unprecedented crises and challenges. Crowding out a variety of entertainment space opera's cast, accelerate the pace of life that modern civilization, but also changed the people's aesthetic practices. Shrinking talent opera, drama lost viewers. Development of market economy increased the profit-oriented people, anxious state of mind, resulting in blind innovation lost its drama. Although the drama from the past stood out, the stage hegemony back down, but it is undeniable that the opera is still the art of a garden of brilliant.
spread through the millennia of Chinese opera, and at inheriting tradition, is also very good at absorbing and innovation. Representative of traditional Chinese opera aesthetic, sedimentation of the inner world of thousands of Chinese people, the local scene is a mix of geographical and cultural cohesion. Trend of globalization, cultural diversity need to adhere to national literature and art and innovation, the form of opera advantage of the unique charm and there are boundless vitality, culture, Chinese opera is a drama gene and forward the fine tradition of an important spiritual resource. Opera in the contemporary development context of globalization to maintain national identity, national spirit has important value can not be replaced. Thus, deeply rooted in the traditional culture of the Opera art is traditional, unique, and it is the future.
Opera to move towards the future, script writing is the foundation. Cao said long ago, Opera is currently experiencing a bottleneck in the development, Play is a play in this, the script has its own opera structure and expression. Now the playwright, creating world wide, the conditions are good, but the lure of the commodity economy and corrosion of the soul is too serious. No pure hearted, free flying attitude is a good script can not write. Playwright to calm down, independent thinking, the emotions in order to create a vivid, deep meaning to the script.
opera subjects have innovation. Traditional opera should open up new areas of creative themes, concerns the creation of realistic themes. Subject matter may be historical, but the creative idea and conception must be modern. The position of standing on the reproduction of modern classic, the appropriate choice, and tap the eternal theme of good old classic, heavy as a modern classic will be able to provide a steady stream of spiritual sustenance of life.
opera hopes the future of young people, the audience need to develop, because the opera stage is highly artistic style, A certain threshold of opera appreciation, the audience to experience from the Therefore, the opera needs into the classroom, we need to create opportunities for young people, exposure to opera. When young people feel stylish thin, sick of the sensory stimulation, with a certain aesthetic cultivation and content, the Chinese opera has become one of their best choice.
opera is the most creative art, two-way communication with the audience the art scene. Playwright wrote the play, how can ordinary people do not like to see? Growing new audience, how could we not prosperity drama? Moreover, there are the traditional Chinese opera roots, drama is always future-oriented aesthetic of Chinese homes.
fine repertoire and popular strategy
development and prosperity in the contemporary drama is the key to the creation of excellent plays.
should be said, we present the overall status of Drama is results, but we also sometimes hear the audience to some new repertoire, especially the opera productions of the opposition - chasing gorgeous, upside down, lost traditional, blind innovation they simply awards, forget the audience. This drama is not only to sing does not ring, unable to retain, transfer does not open, are often costly, not worth the candle. In this regard, you need to face the reality of drama theory commentator's criticism, but the comments are often trapped in the moment People need to fine repertoire is the result of the test audience, the market test and testing experts formed. Gao Chuangzuo theater colleagues who must correctly handle the quality repertoire with the public relations strategy for the dialectical, dramatic history of the development has taught us that theater is a popular art, is the tastes of Chinese opera.
the new century, national advocacy, support the art scene, the Ministry of Culture has implemented a 5 Fine Stage Arts Project, launched over a hundred works, 50 fine repertoire of contemporary performing arts in promoting the development of play important role. The boutique plays, not a moment from writing, but the accumulation of many years of stage experience. If elected to the National Fine Stage Arts Project of the Opera
China has a large number of theaters, theater groups and the vast, vast urban and rural areas for the general audiences. People need drama, drama, need people, I have been concerned in recent years, The theater is the people's cultural rights. But now there are still only concerned with the individual's so-called Theatre of fine plays, but they ignore the needs of the masses, the result not only excellent taste has changed, and so tend to engage in out of the so-called boutique can not play a few games, people do not like, that can not afford a ticket.
Gao Chuangzuo counterparts must have the strategic vision and strategy for the general public, which is creating a foothold and starting point strategies left the so-called boutique plays the public like a fish out of water is not live long The. Strategic needs of the public to guide quality, quality of the point is that the public should be the strategy is to let people see more good movies.
first held last year, the Ministry of Culture Awards excellent repertory activities, attention to audience and market evaluation, increased demands on the number of performances, from 30 years more than 1,000 plays in, selecting the best
First, the selection of the 18 units outstanding repertoire is both very popular audience and repertoire, but also a variety of award-winning work over the years, have been testing the audience, the market test, expert testing. Over the years, these productions often play new, and people never lost their appeal.
Second, the selection of the repertoire is a good 30 years to stage artistic achievements Festival and conscientiously sum up the system. Only 18 opera repertory in nine plays, there are new historical operas, finishing plays and modern drama adapted from the traditional, fully embodies 30 years of reform and opening up the Creation of the national results, the concept of significance. We also remember the Opera
Third, selection of repertoire for 30 years, the drama of contemporary creation, the next stage of development of the arts is an important reference and guide. As said, recalling 30 years of reform and opening up dramatic writing, is a major achievement, but there are not desired. Especially the new century, the country's economic development, and greater emphasis on investment in drama, dramatic writing also There have been put into writing plays is a good thing, but also to promote the awards to do Drama Festival, is a means not an end, but it is undeniable, for the fine and fine, the bias for the awards and production objective. I thought, good selection of repertoire, some bias is corrected. Meanwhile, young writers can also look carefully at the achievements of these outstanding repertoire, writing the script for the future is helpful.
respect for tradition and innovation and development
Opera art is the art of ancient and future, to maintain the heritage character and features are important weaknesses, the times where innovation is its vitality . This is like the art of calligraphy need to develop innovative, but no matter how created, after all, is the art of stipple lines, is the art of Chinese characters. Chinese Opera modern stage techniques need to borrow
years in theater practice tells us that, for dramas, especially the art of China's national opera, to resolve the relationship between tradition and innovation the most critical of contemporary and future issues.
Throughout the development of contemporary opera, the more prominent issues remain opera loss of self. Many current understanding of the theatrical community and the creative practice of the errors, the most prominent are three points: First, convergence, and second, from the rustic and the third is arrogant. This means both the creative and artistic style of the convergence of the blind or simply borrowed into other performing arts, generic dance, drama lost its own look and style, digestion of the opera and drama of the personality. There is a convergence of creative staff, a screenwriter, director, music, choreography and even the performances, all regions have invited artists to join, with the exception ignored the drama and the drama of the particularity and diversity. Or that traditional opera behind the times, behind the Western drama, musicals and other performing arts, the result is a stylized and go to line of business, which also is to dramatization; or that the attention of Western drama, characterization stage art, drama there is a priori do not attach importance to people with disadvantages, with the drama of Western art to transform a simple drama. In fact, the history of Chinese opera with a little common sense will know, starting from the formation of traditional opera, the characters took shape as an evaluation plays an important standard and excellent actors, playwrights do not attach importance characterization, not the shallow understanding is subjective misunderstanding. Present an overall decline in the level of opera performance, Furthermore, there are some creative staff did not really understand opera, opera does not respect the law of creation, from the exotic art of got a little fur to self-righteous and raved due to lack of drama, do not understand the opera feature, thinking that the This repertoire can only be produced nondescript
We are not opposed to development and innovation of traditional opera, a Chinese opera history is in the tradition and innovation in the development. While we worry about Western culture and modern entertainment have an impact on the opera, but opera is more worried about loss of self as a chronic suicide. When the opera face of modern civilization, when in trouble, and we should grasp the features, strengthening style, seek to go beyond, to solve inheritance and development, heritage and innovation. Creative staff of the fear of the Opera tradition, not Scrapped; theoretical workers have a keen vision and the courage to dare to criticize, do not flatter Hu; cultural authorities to respect the laws of drama, do not make command. So, Opera is there a future, have hope.
but Alas, dramatic writing practice over the years tells us that Opera has not corrected the problem themselves lost, they created works for the new year success rate is not high, which should lead to creative staff and the cultural department at the Department of attention and vigilance. For the theater workers, the self have a clear mind and a rational perspective, it should assume the historical responsibilities should be, the self lost in today's opera remain vigilant.
I would also like to emphasize that the dramas and the people to respect the traditional aesthetic taste, do not cut off the traditional opera aesthetic pursuit and ordinary people's aesthetic and traditional values and morality. Respect for the traditional opera aesthetics is the foundation of artistic innovation.
In summing up the achievements of outstanding repertoire, we should be based on the present and future creation. Opera should have thought, fight and moving, but it is different with the drama, drama is too heavy, the audience will look very tired. We emphasize the drama of ideological, artistic, does not mean to let the people do not understand. I think, for the National Opera, the beautiful is more important than the profound. the full enjoyment of the arts. Properly handle the relationship between depth and aesthetic, good repertoire success in this area experience is worth a good review and reference.
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