In terms of the tradition of the center of Western drama scripts, theater-centered theory has revolutionary and subversive significance. Several major treatises in the history of oriental drama, such as India's "Dance Theory" and Japan's "The Legend of Fengzihua", all focus on performance. As a theater art, the comprehensive nature of musicals already implies the potential possibility of negating the supremacy of the script. It assumes that the artistic elements in drama cannot be independent, and the lack of transcendent independence means that the drama elements can only be interdependent and exist as part of the whole. Just like every part of an actor's body is not his own and must serve the drama, the dramatic elements of a musical do not belong to him either. Only when they are reflected in the "drama" and blend in with the "drama" can they have perfect meaning.
The view of the script center is different. It believes that: literary factors are the only eternal factors; drama literature is enough to constitute a complete work of art; other factors in dramas other than the script are only subsidiary. Although the theoretical research on musicals also emphasizes the study of scripts, it requires that the scripts should not be placed above other dramatic elements, leaving other elements in an awkward position of being dispensable. Of course, as a whole drama, the artistic elements in the musical appear in chronological order during the creation process of the musical. The script, as the "base of a drama", was first established, thus forming the prior structure on which other artistic elements in the musical are based. , Therefore, the script is not only one of the elements of the musical, but also a drama element with special significance. The emphasis on the study of scripts in musical theater theory is absolutely unavoidable)
1. The "cornerstone" status of scripts in musicals
First, the content contained in musical scripts The conflict is the soul of the work that attracts the audience. Only by building a perfect framework, providing exciting dramatic clues, weaving a complete storyline, and creating intense dramatic conflicts can a work truly arouse the audience's excitement and gain their love.
Second, the script is the most important carrier of a musical, and other elements of the play are based on it. The music, dance and songs of a musical are all presented in sequence based on the development of the plot. This places very high demands on the script: if there is not a good story that cannot capture the audience's heart from the beginning, then no matter how beautiful the music is, how moving the dance is, how outstanding the singing is, or how gorgeous the choreography is, they cannot Well presented on stage.
Thirdly, the script of a musical is the most labor-intensive part of the entire work. From the initial idea to the final draft, the script is constantly being adjusted and revised. Not only do playwrights always have to constantly adjust the plot based on previews and even performances, directors and composers also pay great attention to changes in the script. Only after several other elements of the musical, such as music and dance, are finalized, can the script be overall arranged by the playwright, while also taking care of the order of the lyrics and the needs of the actual performance.
Fourth, the script is an important means of shaping characters and explaining the plot. This role cannot be replaced by music and dance. In plays with limited time, the script bears the "important task" of explaining the plot, the relationship between the characters in the play, and the development of the play as comprehensively as possible, and must provide clear story clues to the audience. At the same time, the quality of the script is directly related to whether it can create a rich and distinctive artistic image that can be remembered by the audience.
2. Creation of scripts
The biggest problem currently existing in China’s original musicals. Some people say it is a market problem, but we think it is still a work problem to a greater extent. The primary reason for the low quality of the works is that Chinese creators do not know much about musical aesthetics, musical creation methods, musical rhythms, and musical styles. Most of what they are exposed to is Weber's musicals, and now there are also French musicals. Musicals, I thought that was what musicals were all about. In fact, classical musicals (book musicals) are very oriental. Many people think that they cannot stand it and may even fall asleep while watching it. However, from the perspective of the musical's unique creative method and aesthetic appeal, it is here that it is a treasure. with the professional wisdom we need most.
Without Book, where would the tears, joy, pain, and pure love that flowed from the depths of my heart come from? Without the Book, how could it remain meaningful, profound, eternity, classic, immortal and miraculous even after the passage of time? In the early days, scriptwriting was always the biggest challenge of the entire creative process. If the music and dance are not suitable, you can start over from scratch, but as the "base of a play", the script must be basically in place before other work is carried out. Even if it is changed in the future, it will only be based on the details. This requires playwrights to have extremely strong creative skills. Otherwise, it will be difficult for their plays to stand out from a wide range of popular themes and eventually be favored by the director and become the blueprint for musical arrangements.
After comprehensively examining the successful works of musical script creation, we can see that a good script should have the following main characteristics: HZGK$
First, an excellent musical script Different from ordinary drama scripts, it requires the playwright to be very familiar with song and dance narrative methods and integrated technical skills, otherwise, it is likely to become a musical script. 8(R
The creation of a musical script should not only be based on the method and structure of singing and dancing, but also the aesthetic image formed in the playwright's mind must also be fully singing and dancing, the development of the story and the arrangement of the scenes It must necessarily adapt to the inherent rhythm and rules of musicals and dance performances, as Zhang Xu, director of the Musical Theater Department of Beijing Dance Academy, said: "Traditional drama is basically based on the thinking and resolution of emotional entanglements and conflicts between people and events to realize drama. On the basis of following the above-mentioned drama principles, musicals almost completely abandon the core expression method of traditional dramas, using music as the matrix of dramatic expression, and based on the requirements of dramatic theme expression. It can be said that the musical is a rational, free and comprehensive integration of all stage performance methods and forms that can effectively reflect the spirit of the work. It can three-dimensionally express the fullness and tension of the drama. , multi-dimensionally carrying the purpose and meaning of drama. Traditional drama is to complicate and conflict a simple plot as much as possible, and to make the theme as diverse as possible, so as to achieve a speculative dramatic task. The plot and story are as simple and conceptual as possible, freeing up more space and time to hand over the complex plot, character emotions and drama conflicts to music as the main body and dance and other artistic expressions as the supplement. An art full of and pursuing formal expression. Coupled with the development of science and technology, musicals have become a completely open, free, and democratic alternative drama with simple stories and complex forms of expression." ("Wenshuo Creative Musical" "Dance Me If You Love Me" song album manual, Hunan Electronic Audio and Video Publishing House, 2005)
Second, the potential of musicals---music, lyrics, dance, art, and lighting are Where is the story used to tell the story? Are all aspects used to the extreme?
Musicals are "drama", not "music" connected by stories. Music and songs are the " The lines and dances in this "drama" are the actions in this "drama". We cannot position ourselves as a "musical" drama rather than a musical "drama". Generally speaking, singing and dancing must be "organically" combined with the story. This It is the first priority. The singing and dancing of any musical must have a dramatic reason, must be very naturally integrated into the plot, and be very organically integrated into the story: where dance is needed to promote the plot, the actors can Kick the thighs up, there needs to be a song to portray the character, so that the actors can open their mouths to sing, otherwise, it will be pretentious and contrived.
"Hello, Dolly" is directed by David Murray. David Marrick adapted Thornton Wilder's 1954 "The Matchmaker" into a classic musical. "The Matchmaker" is a relatively traditional simulation story. In New York at the end of the 19th century and the beginning of the 20th century, the time and place at the turn of the century were inextricably linked to musical theater.
The comedy and romantic atmosphere in the story make people laugh, and at the same time it is enhanced in reality, and its profound connotation and plot adapted to dance and music design provide great convenience for it to enter the musical stage. It has almost all the elements needed for a musical, and these are rare. "Hello, Dolly" has many outstanding features in its creative techniques. The unique opening deeply attracted the audience. In the past, musicals always opened with a dialogue or narration before entering the performance. "Hello, Dolly" uses an unexpected method. It has no dialogue and the performance is directly led by music and dance, which is refreshing. As the stage curtain was raised, a group of dancers appeared in the center of the stage in the shape of a New Year's card. As they sang "Call on Dolly", the entire stage came alive like a freeze frame in a movie. This opening also signals the style of the show: turn-of-the-century elegance and atmosphere.
Third, the presentation of the story---the script; what is the plot? How is the role? How are the times? How is the location? How are the basic elements in the first point arranged to develop the plot, tell the story, introduce the characters, and explain the time and space background? The narrative elements of the musical (script, lyrics, music, dance, and staging) must be close to our story, our characters, and the historical situation we designed. Only then will the work be tactful, smooth, meaningful, fresh, subtle, profound, romantic, and comfortable. If you want to imitate, refer to, and imitate other successful works, you should stand at a higher perspective and seriously study the methods and techniques of other famous dramas, rather than simply imitating other people's works.
As the core concept of musical stage creation, "integration" is different from other stage drama trends and has its unique artistic significance and aesthetic value. "Three-dimensional drama" means to use drama as the fundamental premise for the development of various elements of musicals. Once we have excessive kitsch elements in our creative thinking and impose unnatural songs and dances on others, there will be disharmony. In this way, not only the original aesthetic value of the musical cannot be realized, but this sudden switch between the hugely different dramatic situations and narrative elements blocks the aesthetic process of the musical, thereby affecting the audience's investment in the prescribed situation. It even leads to the audience's misunderstanding of the unique artistic aesthetic of musicals.
"The King and I" was created by Hamstein Jr. and Rogers in 1951. It is said that the creation of the play originated from their wives. After they read Gertrude Lawrence's novel "Anna and the King of Siam" in 1944, they recommended this magical work to their husbands. This musical based on a true story tells the story of the King of Siam (ancient Thailand) and his governess from the West. Through the complex cultural and psychological conflicts between people from two different countries, it reflects profound themes such as the cultural differences between the East and the West and the status of women.
In this script, Hamstein Jr. and Rogers have many themes to play with: civilization versus barbarism, autocracy versus democracy, the legendary love between kings and commoners, East versus West, etc. This exotic musical created a sensation as soon as it was staged, and has been performed for 1,246 times since its premiere. Yul Brynner, who played the king brilliantly in the premiere, played the king for 4,625 times due to his outstanding performance. "The King and I" also won four Tony Awards in 1952, including Best Musical. "The New York Daily Mirror" commented in 1951: "It sets a new and higher standard for the musical theater stage." In 1998, the "Houston Chronicle" believed that ""The King and I" embodies the musical theater's In essence, it perfectly organically combines drama, music, dance and stage decoration, leading the audience on an unforgettable journey.”
Fourth, good scripts have diverse themes, whether classical or modern. , domestic or foreign, but there must be a clear theme "CONCEPT" throughout the whole play. In this way, all the songs and dances will have thematic support and form a momentum to drive the songs and dances forward. Otherwise, the songs and dances will seem to be disconnected. The pearls are scattered all over the ground, unable to complete the singing and dancing narrative task.
When "CONCEPT" is paired with the subject matter, almost all problems can find wonderful solutions.
"Cats" is "about" cats, an exhibition of cats. It has no deeper meaning except cat show.
"Fiddler on the Roof" is "about" the continuation of life and the continuation of culture. The cycle of life and death, sunset and sunrise, are all closely related to this theme. KK`FBb
"Chicago" is "about" subversion. In an era when etiquette has collapsed, all social standards and values ????have "nothing goes", so it is a great game.
Fifth, what are the comparisons? Where is the contrast? Is the tension pulled out? Is it a colorful and meticulous boutique, or a dazzling big pot?
Contrast creates creative tension. For the birth of every musical, some contrasting techniques with dramatic tension should be designed. When Weber created the musical "Jesus Superstar", he cleverly channeled the British's worship of rock stars at that time into their enthusiasm for Jesus; compared to the so-called solo concert-style musical "Snow Wolf Lake" by Jacky Cheung and "Sambo" "MAMMA MIA" is a star-studded concert-style musical, "MAMMA MIA" is handled much better. ABBA's songs are used throughout the play, but at the end, the audience is not forgotten: what everyone sees is just a concert. meeting.
We have set up many very poetic contrast techniques in the script of "Dance Me If You Love Me". I believe that after watching the movie, the audience will have an endless aftertaste and a deeply touching sigh. . For example, the reason why we strengthened the scene-within-a-play sequence of "Butterfly Lovers" is because:
1) This movie is about four young people dedicating themselves to the art of musical theater backstage, so this group of people are backstage Our efforts must be transformed into the "front stage" for the audience to see and let us be moved! Therefore, all the enthusiasm and hard work will not feel like it is in vain. "
2) The main line of this movie is the story of a terminally ill girl who suffers from congenital rickets, and eventually her health is damaged and dies. The corresponding story in the play is about Liang Shanbo and Zhu Yingtai. The key point is "Butterfly".
The two key points of "physical death" and "spiritual immortality" are drawn out, and Zhu Yingtai in the play - the physical death and then the immortality of the butterfly, and Qingqing outside the play - the physical death but the artistic work will be passed down forever. Through this comparison, we emphasize the "butterfly", "perfection", "blessing", "freedom" and "detachment". The latter two themes are too superficial. They are topics that foreigners only care about. Chinese culture is profound and profound, and the reason why there are myths like "Butterfly Lovers" is that It is because we know that we start from "physical death" to achieve "spiritual immortality". In our script, we deliberately do not let Qingqing's body appear in the funeral. This is because we want to emphasize "spiritual detachment". So let the butterfly fly out of the theater (Qingqing's second hometown) and fly back to Muni Village (Qingqing's first hometown). Because of this, the ending scene - the interior of the theater is in the foreground, and the blue sky and white clouds are in the background - like this. The design makes sense, not just a visual trick. In short, we want to emphasize that life is like a play, play is like life, and the stage and the stage of life are an inseparable whole.
Sixth, we also Is there attention to detail, structure, sincerity? Is there a rigorous and complete structure? Is the musical a piece of work? , not only requires meticulous skills, but also requires close collaboration of the team - not just "division of labor", but also "cooperation". The playwright and librettist jointly find out the places where songs can be inserted in the script, and coordinate which dramas. Elements are told by lines, which dramatic elements are expressed by songs, in what style, through which character, how much should be said, whether it is said explicitly or implicitly; and then, in cooperation with the composer, a certain character, a certain A situation, or the overall overall pattern of emotional atmosphere, rhythm, mood, work separately, and then go back to integrate, coordinate, and brainstorm with each other.
For every style of singing and dancing, a strong dramatic reason must be given.
When our creative team of "Dance Me If You Love Me" designed the scene of Qingqing's audition in the theater, we set the time point on "the eve of Qingqing's graduation", so Qingqing and Lanlan , Xiaoli, and other dance school students began to face the problem of finding jobs. At the same time, we also used visual effects to create an "imaginary" "Broadway in China", which is the city in the movie (it does not specify Beijing or Shanghai, but only implies that it is a large commercial city), here It is a specific area that gathers commercial theaters. There are many large and small theaters and nightclubs. A variety of different performances are performed every night, including Chinese acrobatics, opera, modern drama, revolutionary model drama, ballet, pop opera, and Modern musicals are just like New York's Broadway Theater District! We did not emphasize all of this in the script, but the creative team knew it, and then asked the director to use the camera to set off this fantasy behind the plot in a seemingly invisible way. Zhao is called "writing without writing" in literature. We didn’t describe it a word, but the audience could vaguely “feel” the magic of the theater. Without this grand "background", it would be meaningless for Qingqing and others to seek death and survival.
We also played a pun, making Pippen's office a very strange shape (such as triangle, oval, etc.), overlooking the bright lights of "Broadway in China", and then, the whole office Everything is purple! We even used an example here, which is the example of the famous Broadway producer David Merrick. His office was oval-shaped and then it was all red, big red! The red table, red chairs, red sofa, and red curtains are all red, and outside the window is his Broadway. How about we make Pippen's office all purple. Of course, the walls would be covered with posters of Pippen's plays.
3. Classic case analysis}
Little Hamstein can be regarded as a model in breaking traditional bad rules. He advocates the creative concept of destroying the old and establishing the new, and his nearly 40 years of creative practice has provided valuable experience to many playwrights. For example, during the premiere of "Oklahoma", when the curtain opened, what the audience saw was not the traditional almost cookie-cutter appearance: some beautiful group dances by women to set off the appearance and appearance of the protagonist. singing. It opens with a peasant girl working, and at the same time, a tenor off the stage directly sings the beautiful song "Ah! What a Beautiful Morning" to the audience. This concise, real and natural opening not only saves time for the plot, but also gives people a novel feeling. Although this approach may not seem difficult now, at the time it was a break from a formulaic, conceptual rut that had lasted for decades.
The classic status of "Heaven and Earth" on Broadway is determined by many aspects. Among them, the famous "Bench Scene" played an important role in establishing the status of the play. This scene has also become the basis for the creation of the musical script. A rare work in this field, it is necessary to appreciate and evaluate it individually. "Bench scene" refers to the love scene between the male protagonist Billy and the female worker Julie (the two sit on a bench under a flower tree, historically known as the "bench scene"). Little Hamstein used the trinity of background music, lines, and songs to create this nearly twenty-minute piece. The entire "bench scene" is intertwined with singing lines (not the awkward opera "recitative", but a "melody" that perfectly matches the words and tone), poetic but not pretentious dialogue, and Little Hamm's Stan's most famous "love song duet that doesn't say 'I love you'" - "If I Loved You". This young couple with a clear mind but deliberately tortuous singing to each other: "If I love you, what will I do..." "...but that's 'if' - if I love you." From the beginning of the musical to the "bench play", the development of dialogue and songs has reached the highest level of harmony. Even if viewed from a modern perspective, the artistic achievement of the entire "bench play" is still unparalleled.
This "bench play" blends a love dialogue between two people with different attitudes towards life throughout the play, and explores the meaning of love. When Billy first met Julie, a hard-working and simple factory worker, he couldn't help but sigh: "You are a strange woman, Julie Jordan", and this white line also reflected Billy's bohemian personality. Throughout the development of the "bench scene", Billy's personality is fully revealed, and it is related to Billy's attitude towards life before this "scene" occurred (the ambiguous relationship with Mrs. Mu Ling, the owner of the Trojan Casino) This formed a perfect match between the echo and the image, which in fact made his love for Julie more direct, bold and firm, even a bit ridiculing; while a simple factory girl like Julie showed how much love she had. Full of expectations and shyness, when facing an admirer who has a completely different outlook on life than her own, her love seems to become so dreamy, hazy and uncertain (as she sang: "One day soon, you will be there in a hurry" ). When two people with different thoughts faced the same problem "love", they had a subtle conflict that seemed beautiful and sweet, but was actually contradictory. The question-and-answer exchange resulted in an uncertain factor: "If I loved you...?"
However, this scene in the whole play does not simply stop at how uncertain love will be if one day he or she leaves the other half, but focuses more on the deeper aspects of love. Relationship - the continuation of the spirit of love. No matter what identity or background people have, when facing true love, they will continue this preciousness. As long as there is love in your heart, you will "not be alone" (this is the end of the song in the play, alluding to the play) The result of the second half also achieves the extension of the theme).
From this point of view, this "bench scene" in the development of the entire drama serves as a confirmation of "starting"---"acceptance", which precedes "he" (the end of the play) "Turn" the process and status of this development.
The "bench scene" can be said to be a reflection of the excellent cooperation between Hamstein Jr. and Rogers. Corresponding to this 20-minute rivalry scene between the male and female protagonists is a stack of dozens of pages of music scores. In order to achieve a situation where the dialogue can be sung in real time, Rogers spent a lot of effort to adjust the melodies of these "dialogue songs" in order to match the natural intonation and the cadence of the lines. The younger Hamstein also spent a lot of effort to let the lyrics sing first. The dialogue between the two gradually becomes poetic and beautiful, unconsciously introducing poetic rhythm, and then reaches a dramatic critical point, allowing Rogers' melody to convey the dramatic tension, and the protagonist begins to sing. Such efforts can be said to have eliminated one of the biggest criticisms of musical theater for many audiences who don't know how to appreciate it - they feel that the songs are placed here and have no connection with the plot. Unfortunately, this aesthetic journey has not been seen in the movie version, and only exists in the video data of some black and white TV live variety shows. [Source: Rodgers and Hammerstein Research Monograph]
The most memorable thing about the play "Heaven", apart from the classic "bench scene", is the climax scene "Monologue" before the end of the first act ( Soliloquy) is also worthy of analysis and reflection. This seven-minute solo not only showcases Rogers' creative genius, but is also a pioneering work for Hamstein Jr., who wrote and arranged the song. Never before had a play featured such a long expression, sung by a single person standing center stage. When Billy faced his daughter, this "monologue" vividly demonstrated his uneasy mood of both expectation and fear of rejection. The profundity of the theme and the stage-appropriate approach make up for the lack of lyrics and the boredom brought on the audience by the unprecedented length.
The seven-minute "monologue" not only expresses Billy's joy of becoming a father for the first time, but also fully expresses his thoughts on his responsibilities to the family and his reflection on his past crimes. It can be said that this is another milestone in the musical arrangement and narrative techniques in the development of the script. In terms of the tradition of the center of Western drama scripts, theater-centrism has revolutionary and subversive significance. Several major treatises in the history of oriental drama, such as India's "Dance Theory" and Japan's "The Legend of Fengzihua", all focus on performance.
As a theater art, the comprehensive nature of musicals already implies the potential possibility of negating the supremacy of the script. It assumes that the artistic elements in drama cannot be independent, and the lack of transcendent independence means that the drama elements can only be interdependent and exist as part of the whole. Just like every part of an actor's body is not his own and must serve the drama, the dramatic elements of a musical do not belong to him either. Only when they are reflected in the "drama" and blend in with the "drama" can they have perfect meaning.
The view of the script center is different. It believes that: literary factors are the only eternal factors; drama literature is enough to constitute a complete work of art; other factors in dramas other than the script are only subsidiary. Although the theoretical research on musicals also emphasizes the study of scripts, it requires that the scripts should not be placed above other dramatic elements, leaving other elements in an awkward position of being dispensable. Of course, as a whole drama, the artistic elements in the musical appear in chronological order during the creation process of the musical. The script, as the "base of a drama", was first established, thus forming the prior structure on which other artistic elements in the musical are based. , Therefore, the script is not only one of the elements of the musical, but also a drama element with special significance. The emphasis on script research in musical theater theory is absolutely unavoidable.
1. The "cornerstone" status of the script in the musical
First, the conflict contained in the musical script is the soul of the work that attracts the audience. Only by building a perfect framework, providing exciting dramatic clues, weaving a complete storyline, and creating intense dramatic conflicts can a work truly arouse the audience's excitement and gain their love.
Second, the script is the most important carrier of a musical, and other elements of the play are based on it. The music, dance and songs of a musical are all presented in sequence based on the development of the plot. This places very high demands on the script: if there is not a good story that cannot capture the audience's heart from the beginning, then no matter how beautiful the music is, how moving the dance is, how outstanding the singing is, or how gorgeous the choreography is, they cannot Well presented on stage.
Thirdly, the script of a musical is the most labor-intensive part of the entire work. From the initial idea to the final draft, the script is constantly being adjusted and revised. Not only do playwrights always have to constantly adjust the plot based on previews and even performances, directors and composers also pay great attention to changes in the script. Only after several other elements of the musical, such as music and dance, are finalized, can the script be overall arranged by the playwright, while also taking care of the order of the lyrics and the needs of the actual performance.
Fourth, the script is an important means of shaping characters and explaining the plot. This role cannot be replaced by music and dance. In plays with limited time, the script bears the "important task" of explaining the plot, the relationship between the characters in the play, and the development of the play as comprehensively as possible, and must provide clear story clues to the audience. At the same time, the quality of the script is directly related to whether it can create a rich and distinctive artistic image that can be remembered by the audience.
2. Creation of scripts
The biggest problem currently existing in China's original musicals. Some people say it is a market problem, but we think it is still a work problem to a greater extent. The primary reason for the low quality of the works is that Chinese creators do not know much about musical aesthetics, musical creation methods, musical rhythms, and musical styles. Most of what they are exposed to is Weber's musicals, and now there are also French musicals. Musicals, I thought that was what musicals were all about. In fact, classical musicals (book musicals) are very oriental. Many people think that they cannot stand it and may even fall asleep while watching it. However, from the perspective of the musical's unique creative method and aesthetic appeal, it is here that it is a treasure. with the professional wisdom we need most. Without Book, where would the tears, joy, pain, and pure love that flowed from the depths of my heart come from? Without the Book, how could it remain meaningful, profound, eternity, classic, immortal and miraculous even after the passage of time? In the early days, scriptwriting was always the biggest challenge of the entire creative process.
If the music and dance are not suitable, you can start over from scratch, but as the "base of a play", the script must be basically in place before other work is carried out. Even if it is changed in the future, it will only be based on the details. This requires playwrights to have extremely strong creative skills. Otherwise, it will be difficult for their plays to stand out from a wide range of popular themes and eventually be favored by the director and become the blueprint for musical arrangements.
'!
After comprehensively examining the successful creations of musical scripts, we can see that a good script should have the following main characteristics: HZGK$
First, an excellent musical script is different from a general drama script. It requires the playwright to be very familiar with the methods and integration techniques of song and dance narratives, otherwise, it is likely to become a musical script. 8(
The creation of a musical script should not only be based on the method and structure of singing and dancing, but also the aesthetic image formed in the playwright's mind must be fully singing and dancing, and the development of the story and the arrangement of the scenes must be It is inevitably suitable for the inherent rhythm and rules of musicals and dance performances. As Zhang Xu, director of the Musical Theater Department of Beijing Dance Academy, said: "Traditional drama is basically based on the thinking and resolution of emotional entanglements and conflicts between people and events to achieve dramatic tasks. , to achieve the purpose of drama. On the basis of following the above-mentioned drama principles, musicals almost completely abandon the core expression method of "line recitation" in traditional dramas, use music as the matrix of dramatic expression, and are produced according to the expression requirements of drama themes. It can be said that the musical is a rational, free and all-round integration of all stage performance methods and forms that can effectively reflect the spirit of the work. It can express the fullness and tension of the drama three-dimensionally. It carries the purpose and meaning of drama in multiple dimensions. Traditional drama is to complicate and conflict a simple plot as much as possible, and to make the theme as diverse as possible, so as to realize the speculative dramatic task. The story is simplified and conceptualized as much as possible, freeing up more space and time to hand over the complex plot, character emotions and drama conflicts to a full-scale show with music as the main body and dance and other artistic expressions as the supplement. and the pursuit of formal expression. Coupled with the development of science and technology, musicals have become a completely open, free, and democratic alternative drama with simple stories and complex forms of expression." ("Wenshuo Creative Musical" " "If you love me, give me a dance" song album manual, Hunan Electronic Audio and Video Publishing House, 2005)j