brief introduction
Drama is a comprehensive art, and drama, director, performance, beauty, lighting and criticism should be indispensable. What is even more indispensable is to accept the object of this art-the audience. Of course, in Shakespeare's time, there were fewer factors of drama. One of the most important reasons why drama has been enduring in Europe for hundreds of years is that it has trained audiences from generation to generation, and the organic combination of thinking and entertainment from generation to generation has promoted the development of drama.
[Edit this paragraph] Development history
China's drama began in the thirty-third year of Guangxu in Qing Dynasty (1907). In the second year of Xuantong in Qing Dynasty (19 10), it was introduced to Liaoning.
In the second year of Xuantong, Liu Yizhou (Mu Duo), a member of the League, came to Liaoyang from inside Shanhaiguan Pass to perform new plays "Mourning for the South of the Yangtze River" and "Spring and Autumn in the Mainland". In May of the same year, he went to Fengtian, joined hands with opera artists Lilac and Du Yunqing, and successively performed a new drama "Blood of Congress" attacking feudal autocracy in Ming Sheng Tea Garden. The Japanese consulate protested, and the Fengtian municipal authorities gave in to the pressure and ordered the performance to be banned. In the first year of the Republic of China (19 12), Miao Tianyu and Feng Dihan, members of the Shanghai delegation, led a delegation to the Guangde Tea Garden (Liaoyang Daguanlou) to perform plays such as "The Tragedy of Polish National subjugation" and "The Soul of the Republic of China". After the introduction of drama into Liaoning, theater fans all over the country organized drama performances. In the fifth year of the Republic of China (19 16), Chen Fei of Dalian initiated and organized a drama club and served as its president. Its members are mostly businessmen from cities and cultural figures from newspapers and schools from all walks of life. The repertoires of the performance include the farce The Drunk Man's Drinks, Prostitutes in Brothel, Tears in Xiangjiang River, Turning Back to Violence, Half-brothers, etc. 1 1 (1922) The primary school affiliated to Fushun YMCA performed Bad Marriage and Conspiracy in Fushun West Theater.
/kloc-in 0/4, Ou Yangyuqian went to Dalian, Shenyang and other places to give lectures on popular art to local drama circles and young people who like new dramas and spread modern dramas. Zhang Guangqi (female), an underground worker in party member, Shenyang, China, and her female teachers and classmates were recruited to participate in the drama troupe organized by the Fengtian YMCA, and performed such plays as The Story of Qiu Jin and Xu Xilin, Peacock Flying Southeast, Its Crime and Marriage Proposal. Ou Yangyuqian and Zhang Guangqi also performed "The Fan of a Rich Family" and "After Going Home" on the same stage. In February of the same year, at the invitation of Dalian China Youth Association, Ou Yangyuqian gave a lecture on "The Road to Drama Reform in China". Amateur drama groups have been organized all over Liaoning, and their performances are very active. 65438+In February 2005, the Amy Drama Club was formally established in Dalian. This is the first official drama troupe in Liaoning Province, with Ma Dianyuan as the head, Lu as the deputy head and director. 16 (1927) In May, Amy Drama Club was invited by the YMCA of China to perform in the YMCA Auditorium (in today's Democracy Square) to prepare for the civic education fund, and staged a drama reflecting the contradiction between family and society, such as "Millennium Regret". 65438+In September 2008, Che organized the "Fengtian Student Civilian Service Group" to perform plays such as "Improved Hospital" and "Blind Road" in Hantun, a suburb of Fengtian.
After the "September 18th Incident" in the 20th year of the Republic of China, the Japanese and Puppet authorities promulgated the "Policy of Literature and Art" to implement cultural autocracy, which severely hit the newly emerging upsurge of mass drama in Liaoning. However, under the leadership and influence of China, some folk drama groups continued their tenacious activities. In the summer of the 28th year of the Republic of China (1939), Jin Shanlong, Yang Rezhu, Wang Zongren and others founded the Shenyang Amateur Drama Troupe and staged Ding Xilin's ten-act drama "Tired of Having No Wife". Later, the troupe merged with Fengtian Troupe and changed its name to International Troupe, with Li Qiao and Jin Shanlong as directors, and successively performed such plays as Butcher, Fire on the Plug, Late at Night and Lifeline at Shinan International Theatre (now Liaoyi Theatre). After that, Zhuanghe County Girls' National High School performed Harmonious Family and Home, Benxi Xu wrote and performed the drama Love Trilogy, and Anshan progressive writer Yan Lifu organized a multi-voice drama troupe to perform the drama Alert.
During this period, the puppet regime established three royal troupes: Datong Troupe (Changchun), Harbin Troupe and Fengtian Concord Troupe, all of which belonged to the Puppet Manchuria Concord. Founded on September 27th, 2000, "Fengtian Concord Troupe" has more than 100 members, and "shoulders the great mission of completing Concord culture". The host (chairman of the Puppet Manchukuo Opera Troupe Association) and Rui He are all Japanese. It was held in June165438+1October, and the play was Singing in the Night. In June, 2008, he performed for the first time. His repertoires included "Donggong Dazuo" and "In the Ranch". In June 5438+February of the same year, a touring university performance was held, with plays such as Joining the Army and Hot Blood Track. These plays are all in praise of the Japanese invaders. By 30 years of the Republic of China, the troupe had created and performed more than 20 plays. During the 30-32 years of the Republic of China, the troupe performed Thunderstorm, Germination and Sexy Devil in major cities in Northeast China. In 3 1 (1942), the famous Soviet drama "Roar, China" was staged in Fengtian, exposing the criminal history of British and American imperialism invading China. The original intention of the Japanese to perform this drama is to publicize the evil of the British and American powers occupying China and arouse the hatred of the people of China against the British and American imperialism. However, contrary to expectations, it aroused the overwhelming hatred of the audience against the Japanese invaders, and the masses rushed to watch, with an unprecedented attendance rate. This greatly frightened the Japanese and puppet rulers and immediately ordered to stop the performance. In addition, the Japanese Puppet also organized troupes in major cities in Liaoning to serve the Japanese aggressors, such as Concord Troupe (Dalian) and Concord Museum Troupe (Anton). After the recovery of Northeast China in the "August 15" period, these troupes disintegrated one after another.
At the beginning of the war of liberation, China * * * sent a large number of revolutionary literary and art workers to the northeast and set up some cultural and art troupes in Liaoning. Wherever these literary and art groups go, they perform cultural programs and do mass work, helping local cultural and art groups and teams to be actively established. He directed and performed a large number of live news dramas and short plays, which laid a solid foundation for the development of new dramas in Northeast China and Liaoning. At the same time, some folk drama groups have also formed in Shenyang, Dalian and Anton. They are self-financing and voluntary private professional troupes, such as Dalian Dongyi Troupe, Guangfu Troupe, Zhongqing Troupe, Liaodong Troupe, Dalian Troupe, Sino-Soviet Friendship Troupe, etc., and have performed Young at Night, Blood Debt, Haitang and Powerful Mountains and Rivers successively. At the same time, the "political task force" of the Kuomintang army and some drama groups run by the Kuomintang once dominated the drama stage in Liaoning, especially in major cities. They performed reactionary plays such as Tian Zi No.1 and Wild Rose in Shenyang, Dalian and Anton, and also performed Thunderstorm and Sunrise.
After the founding of People's Republic of China (PRC), theaters and troupes were established in all cities in the province. Over the past decades, the drama industry has developed rapidly, and a number of actors who enjoy high reputation both inside and outside the province have been trained.
Drama with dialogue and action as the main means of expression. It first appeared on the eve of the Revolution of 1911, when it was called "new drama" or "civilized drama". The new drama gradually declined after the Revolution of 1911. After the May 4th Movement, European drama was introduced into China, and modern drama in China rose, which was called "American drama" and "white drama" at that time. 1928, Hong Shen proposed to name it a play. It reflects social life through the characters' personalities. Dialogue in drama is refined spoken language, which must be personalized, natural, refined, vivid, beautiful, expressive, easy to understand and acceptable to the masses. Qu Yuan by Guo Moruo, Teahouse by Lao She and Thunderstorm by Cao Yu are all famous plays in China.
Drama was introduced into China from abroad at the beginning of this century. From 65438 to 0907, Zeng Xiaogu, who studied in Tokyo, Japan from China, was adapted from an American novel, The Record of the Black Slave, which was the first script of China's early plays. Modern famous dramatists include Guo Moruo, Cao Yu, Hong Shen, Tian Han and Lao She.
[Edit this paragraph] function
Drama art has the following basic characteristics:
First, the stage. Drama performances at all times and all over the world are completed with the help of the stage, which has many styles and has two purposes: one is to facilitate the actors to perform the plot, and the other is to facilitate the audience to enjoy it from all angles.
Second, intuition. Drama is first expressed through the gestures, actions, dialogues and monologues of actors. , directly affect the audience's vision and hearing; Make-up, costumes and other means to shape the characters, so that the audience can directly watch the appearance characteristics of the characters in the play.
Third, comprehensiveness. Drama is a comprehensive art, which is characterized by the need and adaptation to create a specific artistic image on the stage and directly show the social life scenes to the audience.
Fourth, dialogue. Drama is different from other dramas. It expresses plots, depicts characters and expresses themes through a large number of stage dialogues. There are monologues of the characters and dialogues of the audience, and the content of the drama is completed in a specific time and space.
[Edit this paragraph] Classic tracks
The classic repertoires of this drama mainly include Black Slave's Call to Heaven (author: Zeng Xiaogu, Li Shutong), Death of Famous Brand (author: Tian Han), Year-end Struggle (author: Fang Zhimin), Lifelong Event (author: Hu Shi), Bumblebee (author: Ding Xilin), Night of Tiger Catching (author: Hu Shi). Sunrise (Author: Cao Yu), Yuan Ye (Author: Cao Yu), Under the Roof of Shanghai (Author: Xia Yan), Night in Shanghai (Author: Yu Ling), Behind the Screen (Author: Ou Yangyuqian), Put Down Your Whip (Author: Chen Liting), and. ), Snowstorm Night Return (Author: Wu Zuguang), Propaganda Map (Author: Chen), Peach Blossom Fan (Author:), Longxugou (Author: Lao She) and Malanhua (Author: Wu Baixin), Wedding of Hezhe Nationality, In a Quiet Place (Author: Zong Fuxian), Song of the Big Wind (Author:) The Dead Visit the Living (Author: Liu Shugang), The Nirvana of Dogs (Author: Liu Jinyun), Beijing is the Great Northern Wilderness (Author: Yang), The First Floor in the World (Author: Uncle Beijing (Author: Zhong Jieying) and beginning of autumn (Author: Yao Baoxuan,).
[Edit this paragraph] Historical materials of drama
Jia
It is difficult to collect the historical materials of the early drama in the Xinhai period and performances in Hong Kong and Taiwan, but these two items are inseparable from China's drama Smith: the most breakthrough in the collection of historical materials of my drama is the Xinhai period and Hong Kong and Taiwan, which is the most worthy of "writing a great book".
After the victory of the Anti-Japanese War, the Central Plains Drama Club led by the underground party appeared in Hong Kong. This drama club consists of four teams: Dongjiang Column Luxun Art Troupe, Art Academy, Art Association and New China Repertory Theatre. This drama club often contacts ordinary people at low fares. He has performed "Promotion Map" and "Set an Example" directed by Sharla Cheung and Qu Baiyin.
/kloc-in the summer of 0/948, at the initiative of Xia Yan and Shao Quanlin, the opera White-haired Girl was jointly performed in Hong Kong by Jianguo Drama Club, Zhongyuan Drama Club and China Conservatory of Music. This is the first time that Hong Kong has performed a large-scale opera in the Liberated Area. At that time, the "Secretary for Home Affairs" of the Hong Kong government was responsible for reviewing scripts and issuing performance permits. In order to win the approval, in addition to sending people to get through the internal relations, and emphasizing that "White Haired Girl" is a legendary drama describing "White Haired Fairy", it was approved to be staged. After the performance, Hong Kong and Kowloon were packed, and some audiences came from Macao and Singapore to watch the drama. Because of its great influence, the Kuomintang sent spies and thugs to make trouble many times during the performance. A Kuomintang newspaper, National Daily, has a striking headline: "Li Luling, a prostitute of the Eighth Route Army (who plays the role of a child), sneaked into Hong Kong to disturb people's hearts and carry out communist propaganda ... However, because the then governor and his entourage saw the performance. The Hong Kong government approved the performance, especially the audience was enthusiastic. People from all walks of life in Hong Kong and Kowloon supported the performance of the white-haired girl, but the destruction and interference of the Kuomintang reactionaries failed, and the performance of the white-haired girl in Hong Kong was a great success. At that time, the society in Hong Kong was the law of the jungle and a paradise for adventurers: the social atmosphere was that prominent people were popular. In order to stop the criticism of the reactionaries, the actors asked an old lady for help. This man is Mr. He Xiangning, whom even the four families of Jiang Song, Kong Chen are afraid of.
After the performance of "White-haired Girl", Mr. He Xiangning specially invited all the actors to have a seafood dinner at Repulse Bay in Kowloon Port to celebrate the success of the performance.
Mr. Guo Moruo, who was in Hong Kong at that time, made a "tragic liberation" for the performance of White-haired Girl, pointing out that the story of White-haired Girl was a fact that was widely circulated in War of Resistance against Japanese Aggression in the liberated areas. There is no doubt that the production and performance of the script "White-haired Girl" marks the liberation of tragedy. This is the victory of the people's liberation, or the prelude to victory.
During the War of Resistance against Japanese Aggression period (1940), the Shanghai-Hong Kong-Guangdong Youth Service Group staged Mr. Xia Yan's anti-war drama "One Year" in Hong Kong (the title of the drama was changed to "Candlelight Night" for the convenience of the Hong Kong government's approval). Director Lin Fei, actors Ba Hong, Bao Shuying (Yin Su) and Huang Hansheng.
1946 "New China Drama Club" (194 1) was established in Guangxi after the Southern Anhui Incident. This drama club devoted Zhou Enlai's efforts. During the war, it was always sponsored by the Southern Bureau of our Party, and it performed plays with high ideological and artistic quality. At the invitation of the Chief Executive of Taiwan Province, he went to Taiwan Province to perform Zheng Chenggong, Sunrise, Cowherd and Weaver Girl and Peach Blossom Fan respectively. Facing the drama brought by the people of the motherland, the people of Taiwan Province Province warmly welcome the New China Drama Club. At that time, the "New China Drama Club" wiped out all the leading figures and talents in China drama circle at that time.
The head of the New China Drama Club is Qu Baiyin.
The staff list includes:, Zhu Lin, Li Luling, Dai,,, Xu Bingyi, Yan Gong, Jia Ke, Wang Yi, Wang Gong, Te Wei, Cha Qiangphosphorus, Shi Yan, Zhang Youliang, Yao Ping, Jiang Kefu, Zhang Kai, Li Bahong and Yue Xunlie.
Creative artists: Tian Han, Hong Shen.
Special actors: Bai Yang, Shu Xiuwen, Wang, Zheng,.
Special Directors: Hong Shen, Shi Dongshan, Situ Huimin, Sharla Cheung, Ou Yangyuqian and Cai Chusheng.
Special Screenwriters: Tian Han, Cao Yu, Yang Hansheng, Xia Yan and Song Zhi.
These talents are the backbone of drama or film and television after the founding of New China.
[Edit this paragraph] Drama and opera
Poetic "Marriage" between Centennial Drama and Traditional Chinese Opera
Jeanie Zhang
China's drama was born in 1907, which has experienced a hundred years of wind and rain. Classic works such as Thunderstorm, Teahouse and Cai Wenji have influenced generations of playwrights. On the basis of inheriting the essence of Mr. Jiao Juyin's thought of "nationalization of drama", drama directors, represented by Xu, integrated drama aesthetics into drama creation, and realized the poetic "marriage" between a century-old drama and traditional drama.
"All sounds are born of people's hearts, moved by people's hearts, made of things, and moved by things, so they are called sound shapes." China's traditional opera is like a classical beauty waiting for a lady's love. Accompanied by the high sigh and low voice of the Tang-style Song Yun, it moved forward along the historical track of Southern Opera and Yuan Zaju. It is the candlelight of traditional culture that makes opera "take shape from meaning" and seek God instead of form. Virtual performances, such as the vertical and horizontal strokes of ink and wash, Long song crying, long sleeves and dancing, "no painting is everywhere"; The stage of freehand brushwork is simple and ethereal, but no flowers and trees see spring scenery, no waves see rivers; Singing, reading, doing and acting, "combining loyalty, filial piety and righteousness through the ages, becoming temporary joys and sorrows", everywhere embodies the poetic artistic expression and lyrical beauty of the opera itself. For example, in the "Sailing" scene of the Peking Opera Qiu Jiang, an old man paddles Chen Miaochang and chases Pan Bizheng who has traveled far away to catch the exam. There is neither water nor boat on the stage. The actor's body movements show this bumpy scene, sometimes rapids and dangerous beaches, sometimes calm, and the performance is superb and lifelike.
Different from the traditional opera, the drama rooted in European cultural soil presents a distinct realistic style from the perspective of social life and specific stage scenes. Similarly, the performance of sailing in Othello, a famous drama directed by stanislavski, is extremely realistic in the handling of Venetian boats: twelve people push the huge hull and blow linen bags with fans to simulate the sound of waves. Although realistic drama can make the audience have a psychological reaction of "walking into the story", excessive stacking makes the limited stage space lack the beauty of agility and elegance, and drama directors gradually realize that realism and freehand brushwork should not be completely different poles.
From western gentlemen to modest gentlemen, drama draws nutrients from traditional operas with an inclusive mind. Mr. Jiao Juyin said: "Spread the God of Drama in the form of drama." Drawing lessons from drama is not only to imitate its external form, but also to "transform" its internal charm. In Teahouse, the curvaceous beauty of stage scheduling, the rhythmic beauty of intonation cadence, the posture of characters and the modeling beauty of catwalk are all concentrated expressions of China's traditional opera techniques. In addition, in Sangshuping Chronicle, director Xu showed the work site with the performances of the Song team and the dance team, which enhanced the freehand brushwork of the play. The drama "Thousands of Lights" and "Blackout" skillfully uses the "late night" of Peking Opera to set off the atmosphere; In "White Deer Plain" directed by Lin Zhaohua, Shaanxi Qinqiang is used as background music throughout, realizing the perfect integration of local drama and drama.
Ma, a theorist of traditional Chinese opera, said: "If it is real but not empty, it will be turbid; Virtual but not real, it will float. " I believe that the combination of reality and reality, the poetic marriage of drama and traditional opera, will certainly support a bright sunny day for the century-old drama.