In front of the audience is an ordinary citizen family in Xiguan. ...
Guangzhou Repertory Theatre recently performed Cantonese opera "Jiayun" with vivid language and plain style.
Tell people a family story full of southern flavor and urban characteristics. Guangzhou Repertory Theatre.
Jiayun created almost complete daily life on the stage in the form of a small theater.
The illusion of life reminds the audience of their familiarity with daily life and keeps them watching the drama.
Realism is one of the artistic creations of this drama, no matter from the aspects of choreography, acting and dance beauty.
Pursuit is also the most successful part of the play.
Realism first comes from the script. The play depicts the members of this family in many details: how many caged birds are kept.
Grandpa who is cheerful all day; Grandma who doesn't talk much, but is very authoritative at home; Busy with company affairs all day.
Father who has no time to take care of the family; A mother who is afraid that her husband has a woman outside and worried about her son's marriage; By the whole family
Favorite grandson and three outsiders-vain Lingling, kind little babysitter and kind uncle Wei.
Cantonese is also used in the play. Unique sentence structure, slang, idioms, plots and characters in dialects.
The extremes meet, which greatly enhances the sense of reality.
In order to pursue realism, the director put the whole performance space in a small theater environment, and it was composed of dances.
The American designer designed a set with a real sense of life. In such a stage environment, at such a close distance.
In front of the departing audience, it is gratifying that the actors of Guangzhou Repertory Theatre can master the performance of Just the Right Limit very accurately.
Especially the two old actors who played grandparents, they were very impressed.
If the success of Family Luck lies in the authenticity of daily life, then it is insufficient.
There seems to be no distinction between authenticity and randomness in art.
Family Luck revolves around the fate of Sun Zijin and his family.
, girlfriends nanny, etc. All the contradictions and conflicts in the whole play revolve around him. Because Ceng Zi is very powerful,
At the center of the conflict, we should "pull" the whole family and outsiders into this spear eyebrow.
. However, judging from the current performance, quite a few people in the play have not entered this contradiction, but have no vision.
Contradictions and conflicts in the land lead to the loose structure of the play, which also leaves behind future troubles for the actors' performances.
Difficult problems make the actors who play these roles sometimes have embarrassing scenes without "play"
Judging from the characters themselves, these characters are undoubtedly real, and the details chosen by the author are also in life.
There is a certain universality, such as Wei Xing playing mahjong and not going to work, and his father is busy with business and so on. So, why is it playing?
But will they seem to have no "play" 3? The point is that they are not in the drama structure. People are born every day.
Life can be arbitrary. Because he is in a considerable living space, he and the people around him
This may or may not be important. However, when people are brought into the theater space, their behaviors are different.
Because of the limited performance time of 2 hours, this randomness does not exist. He is no longer alone.
He himself is only a part of the whole drama structure, and he must have an organic connection with others and the plot.
Otherwise, his existence will destroy the integrity of the whole drama structure. Ceng Tao and Wei Xing are in the play.
It is precisely because they retain the randomness in their original life that their language and behavior are free.
Reality is just a moment in their original life, which has nothing to do with the structure of the whole play.
The title of "family luck" is symbolic. A family has its "luck", which should be
It concerns all members of the family. Therefore, according to the law of drama structure, or "family fortune" and everyone in the family
Personal "luck" is directly related; Or the family's "luck" is reflected in one character, but in other plays.
People have something to do with this core figure. At present, the author of Jiayun adopts the latter structural method.
This requires all the characters in the play to be related to Ceng Zi's "luck". However, the actions of Ceng Tao and Wei Xing are contrary to each other.
There is almost no direct relationship between the development and changes of "clouds", which more or less causes them to be related to this family and "
Division of family property. This is also the reason why two characters are too casual.
Choose daily life as the object of artistic expression and describe it with the eyes of ordinary people. In literature,
There have been some successful examples, but few in drama. The author uses this vision to express.
Now he is familiar with life, and his courage and insight are admirable. It's just that once everyday life becomes dramatic,
It is no longer the original daily life, but the daily life in drama, and it is not just the law of life that supports it.
Matching is also governed by the laws of drama. Of course, this does not mean replacing authenticity with drama, but
We should use the concentration principle of drama to adjust the randomness of daily life.