It's good for learning to direct. We can make a section of the traditional repertoire in traditional Chinese opera, make a good analysis and improve its ideological and artistic quality. In addition, the novel can be adapted into a love story and a drama, which is of great benefit to the director's study. Another way is to transplant Kunqu opera or other operas and adapt them. Of course, the script can also be adapted into a drama. Be sure to make a fragment from the action, such as picking up a jade bracelet. Sun Yujiao has undergone complicated inner changes through this action, and we must deeply analyze it, experience it and express it. This truth is the same whether it is foreign or China, drama or opera.
People's psychological activity is not utopian, it is closely related to the prescribed situation and must be active in the prescribed situation. Although China traditional opera uses stylized characters to express characters, it should also proceed from inner movements. If you don't experience the characters, you will embark on formalism. The expression method of China's traditional opera programs can't be separated from experiencing the inner thoughts and feelings of the characters, and experiencing the inner activities of the characters is not egalitarianism and naturalism. Some places don't have to be shown in detail, such as drinking without eating vegetables in opera. In the most acute contradictions, we need to focus on the performance, show the fierce ideological struggle of the characters, and show the psychological contradictions of the characters. Only by grasping these joints can we deeply understand them. For example, Gao Chong's riding action in Pulley shows the complicated ideological contradictions of the characters.
Whether it is a historical drama or a modern drama, we should understand the thoughts and feelings of the characters and should not start from the program. No life experience is formalism, and no program is not drama. We should start from life and make good use of the rules of the program. Of course, expressing people from life is bound to be limited by programs, which requires breaking through it and changing it. For example, I play Li Kui jy, and Li Kui jy is in the script. Zhang Fei's fancy program can be used, so can the green-faced tiger and Li Kui jy. However, I had to start using the tattoo program from jy, Li Kui. If this is not enough to express Li Kui jy's character, then a breakthrough or creation is necessary. Procedures will bind life, and life will inevitably break through procedures. So the principle of using the program is: life determines technology, not technology determines life.
In the past, some people thought that China's traditional opera programs were divided into "high", "low", "elegant" and "vulgar", and that Kunqu opera was higher than Beijing opera, and Beijing opera was higher than local operas. As far as Beijing opera itself is concerned, it is considered that Beijing School is "higher" than Waijiang School and "elegant" than Waijiang School. If a troupe goes to the countryside to perform, it is considered worthless. This is the view of the upper bourgeoisie in the old society. Today's standards of "high", "low", "elegant" and "vulgar" are the direction of workers, peasants and soldiers, and should be developed and improved according to the aesthetic viewpoint of the proletariat.
In the past ten years, under the leadership of the Party, due to the implementation of the policy of "letting a hundred flowers blossom, bringing forth the new", China's opera industry has experienced unprecedented prosperity. In the past ten years, various training courses have been held to help artists improve their ideological awareness and artistic level; Establish various drama schools to cultivate the new generation; Carefully sort out the repertoire, clarify the stage, and strengthen the ideological and artistic nature of opera; Hold national opera performances in various provinces and cities to let flowers bloom and exchange experiences; Encourage new literary and art workers to participate in the practice of traditional Chinese opera, so that the old and the new can cooperate to develop national forms.
Advocate all kinds of operas not to abandon their own characteristics to express modern life, and create new historical dramas from the perspective of historical materialism to better serve socialist construction; Thoroughly transform the feudal guild system and capitalist mode of operation, carry forward the spirit of * * * productism and collectivism, and actively serve the people; The troupe went into factories and mines, went to the army and went to the countryside in a planned way, toured, strengthened labor training, actively reformed its thinking and carried out the direction of workers, peasants and soldiers. The above-mentioned series of concrete measures have made great achievements in embodying the party's principles and policies. However, the achievements were not smooth sailing, but were achieved through constant struggle.
For example, on the issue of relying on artists, there is a struggle that can be realized only by relying on artists from a technical point of view and not hesitating to indulge their backward consciousness, and having to transform their old ideological style and improve their political consciousness, and then relying on artists' two different ideological viewpoints; For example, to cultivate young people, there will be a "red specialty" road with politics first and a one-sided argument of "emphasizing technology over politics"; If we look at inheritance, there are both struggles against bourgeois nihilism and feudal conservatism.
For example, in the creation, arrangement and evaluation of drama, there is a struggle to criticize anti-historicism that goes against historical truth and insist on historical materialism to correctly evaluate history; For example, the viewpoint of opening plays includes adhering to the firm proletarian class policy of "letting a hundred flowers blossom and a hundred schools of thought contend" to educate some comrades who only know how to prevent the struggle against poisonous weeds by negative means. These struggles, some in different forms and some in different degrees, are essentially the reflection of the two ideological tendencies of the proletariat and the bourgeoisie in traditional Chinese opera works. These struggles have consolidated the party's leadership over the cause of traditional Chinese opera, set up the banner of political leadership, and educated comrades to resolutely take the road of being both red and expert. So as to ensure the implementation of the reform policy of traditional Chinese opera.
Generally speaking, great changes have taken place in this decade: artists have gradually become cultural warriors of the working class through education and transformation; After the democratic reform, the old class club of feudal system gradually became a state-owned troupe; Dramas and stage images containing ideological toxins are gradually cleaned up, adapted, created and innovated, and become a culture serving socialism. In the future, we should further innovate and improve the traditional Chinese opera, not only to make the traditional Chinese opera correctly reflect the ancient historical life and educate the people with useful historical experience, but also to make the traditional Chinese opera correctly reflect the modern struggle life on the basis of its own characteristics, especially the heroes of the great era and his deeds of educating the people. We must do a good job in all aspects to establish the advanced position of China opera in the world art field.
Bringing forth the old and bringing forth the new "is the objective law of the development of traditional Chinese opera, and it is also the objective law of the development of everything." New things and old things are constantly changing, and the new always overcomes the old and replaces the old, but the old things are the basis for the emergence of new things, and the emergence of new things cannot be separated from this foundation. This truth, from the perspective of the development of China's traditional opera culture, is that we should not only cut off history, respect excellent traditions and inherit the heritage, but also criticize it, transform it and make it constantly innovate. The inheritance and development of traditional Chinese opera, although in the old days, had to follow this law, otherwise the heritage would not be so rich.
For example, in the form of performance, the traditional operas hundreds of years ago, whether it is the creation of roles, music, stage art, etc., are far behind today. However, the development of traditional drama in China in the past is quite different from that in China today.
In the past, China's traditional operas developed under the oppression and destruction of the old society (what is shown here is people's nature) and under the influence of feudal thoughts and bourgeois thoughts. Although it is supported by the people, due to the influence of the oppressed, the result is either unhealthy development, slow progress or self-destruction. China traditional opera is in our era, and it is required to serve the masses in the new era and socialism, so it must be developed under the guidance of * * * *. The "bringing forth the old and bringing forth the new" of traditional Chinese opera we want to understand does not come from any period in the past, but has this historical feature of "bringing forth the old and bringing forth the new". "Innovation" is not an abstract concept, it reflects various viewpoints.
Today we are talking about the innovation of traditional Chinese opera, which is very different from any innovation in the old days. For example, before the founding of New China, magic was set up in Beijing Opera, and when the role helmet hat had electric lights, and the python leaned against it (embroidered robe and armor), suddenly several girls dressed in western-style clothes danced hula, tied a string of bronze bells on Wu Sheng's hands and feet, and trembled when they fell, and so on.
These are also "innovations", just so-called innovations influenced by colonial ideas. There is also a lively form of folk opera, which is considered unpretentious. Therefore, after processing and transformation, it serves temples and galleries, from "Xialiba people" to "Chun Xue", from what the masses like to enjoy to what a few people appreciate. This is also an "innovation", which is the so-called innovation of the literati class.
In addition, there are all kinds of innovations, some are progressive and some are reactionary and backward. The views of the declining feudal class, the reactionary bourgeoisie, and the vulgar ordinary citizens cannot correctly put forward the direction of innovation for our opera career today, but these views can only destroy the opera career. Only the policy of "letting a hundred flowers blossom, bringing forth the old and bringing forth the new" put forward by the Party can ensure the continuous and victorious progress of the socialist opera cause.
This is a firm class policy of the working class, which not only reflects the views of ordinary working people, but also clearly shows the views of the working class; Only this view of the working class can best reflect the objective reality of China opera movement in the socialist era. Therefore, China's "bringing forth the old and bringing forth the new" is striding forward on the basis of today. It focuses not only on the arrangement of the old drama and the clarification of the image of the old stage, but also on its comprehensive innovation, reflecting the theme of modern life and historical life with the ideological views of the working class and colorful national forms.