In December last year, the dance drama "The Wave That Never Gone" premiered. This red-themed dance drama quickly became a major event in the dance world. Not only that, it also "out of the circle" and attracted many ordinary audiences. It was both applauded and popular. It was a phenomenal work. The play was created by the Shanghai Song and Dance Troupe and many well-known creators. We interviewed the director, screenwriter, lead actor, head of the Shanghai Song and Dance Troupe and other key creative personnel to restore the creative process of this play. The directors of
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dance drama "The Electric Wave That Never Dies" are two post-80s women, Han Zhen and Zhou Liya.
Zhou Liya speaks very quickly, occasionally with a Sichuan accent, and her laughter reveals a bit of boldness. She wore a dark turtleneck sweater with long hair tied into a high ponytail behind her head, slapped face, pointed chin, delicate features, and two silver earrings hanging down to her shoulders. The waist plate was very straight and did not stick to the back of the sofa, but leaned forward slightly, with two slender arms resting on the table. Before being admitted to Beijing Dance Academy, Zhou Liya worked as a dancer for five years.
Han Zhen sat opposite her, looking down at the phone, his hair hanging down, and the broken hair falling naturally along the curve of his shoulder and neck. When facing reporters' questions, she calmed down a bit, whispered softly, and occasionally interrupted Zhou Liya when she laughed, and her eyes would turn into crescents.
Han Zhen liked to dance when he was a child. “My grandma took me to the street and I started to twist as soon as I listened to music. We all know about it.” Before
applied for the Beijing Dance Academy, Han Zhen visited a teacher. The teacher said you should dance. After Han Zhen finished the dance, the teacher said, "Don't take the performance test. I think there is something in your eyes. Take the choreography department." Han Zhen knew that the dance academy had a choreography department. She didn't understand anything at the time, so she went to the exam in a muddle-headed manner. The result was not admitted. In the second year, Han Zhen applied for the pre-examination class ahead of time, only to know what the “improvisation” of “improvisation choreography” was and what was the “structure” of “dancing structure”.
later recalled, Han Zhen said, “The teacher actually gave me confidence when he said that there was something in my eyes.” From another perspective, she also understood that her qualifications as a dancer were not qualified. "The performance test is probably no show."
In 2002, both Han Zhen and Zhou Liya were admitted to the Choreography Department of Beijing Dance Academy. They shared the dormitory with the bed next to the bed. After graduating from university, they rented a house together in the west of Sanyuan Bridge in Beijing. They have the same three views, and their artistic concepts and pursuits are also similar-for example, they all like the movie "Nie Yinniang" and the director Wang Jiawei, because "every frame is like a painting." Zhou Liya said that she and Han Zhen both wanted to pursue such "high-level" things, and the two became stable business partners in this way.
In 2011, Xing Shimiao, the director of the original classical dance drama "Spring and Autumn", approached Han Zhen and Zhou Liya and asked them to be the executive directors of the show.
later won the 14th "Wenhua Award" for this work. In 2016, the dance drama "Once Upon a Time in Shawan" in which the two acted as chief directors for the first time won the 15th "Wenhua Award", and the two creators have since risen to fame.
"The relationship between our two girlfriends is very special." Zhou Liya said that she and Han Zhen are relatively neutral in their bones-not like some girls, taking selfies all day long, "Maybe I am more neutral sometimes ."
Two people do things very synchronously, why? Zhou Liya will always be at an average speed. She said that she is a "long stream of water", while Han Zhen often kills with one move. "Han Zhen is sometimes slower than me, but she gets up quickly and quickly. Fuck me."
Han Zhen took the stubbornly. "In fact, we are more like partners, not like girlfriends. The environment between us is inseparable from our cooperation. When we cooperate, it is more like between men. , If you have something to say, what should you do, everyone can still start from the overall situation."
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5zIn 2014, Chen Feihua, head of the Shanghai Song and Dance Troupe, noticed Han Zhen and Zhou Liya. That year, the two choreographers participated in the 9th Chinese Dance "Lotus Award" with their works "I'm Waiting for You" and "Husband Whistle". Chen Feihua is one of the judges. In the end, both of these works won gold medals. After the competition, Chen Feihua found Han Zhen and Zhou Liya. He felt that the styles of the two choreographers were very similar to those of the Shanghai Song and Dance Troupe. He hoped that one day they could cooperate.
In the early summer of 2016, Chen Feihua arrived in Beijing. In a cafe in Sanlitun, he told Han Zhen and Zhou LiyaSend out an invitation-co-create a dance drama. The Shanghai Song and Dance Troupe wants to create a realistic dance drama "The Reed Flower Girl", which tells the story of a woman from Xiangxi who harvested reeds in Dongting Lake. During
, Han Zhen and Zhou Liya had just finished the dance drama "Du Fu", which was about to be performed, and another dance drama "Mulan" will start to reopen. They felt exhausted physically and mentally, but Chen Feihua was very sincere. He said, "I will not urge you, when will you rest well, when will we start arranging, Shanghai Song and Dance Troupe is waiting for you."
One year later, "Mulan" "At the end of their first performance at the National Centre for the Performing Arts, Han Zhen and Zhou Liya took a break and started the pre-production of "The Reed Girl".
A few months later, Chen Feihua came to Beijing again, and asked Han Zhen and Zhou Liya to meet upstairs at the Poly Theater the next morning. With him, there are two deputy heads of the Shanghai Song and Dance Troupe. Han Zhen thought to himself, how big is this? As soon as
met, Chen Feihua said, "The Reed Girl" was not done, and it was necessary to make a dance drama with a red theme.
Han Zhen and Zhou Liya's first reaction was very resistance, not because they resisted the red theme, but because "Luhua Girl" just found the feeling of creation. Zhou Liya remembered that at that time the director's console for "Luhuanv" was almost taken shape. "Even where to put a pair of shoes, how to schedule it, how to go through it, and which scenes" were already thought out. The characters have just begun to take root in the two people's minds, "It is the time to slowly develop feelings with them", suddenly closed this door with a "slap", and then reopened the other one. After all, the creator’s inspiration doesn’t come when you say it is said, and it is closed when you say it is closed.
Moreover, there is so much time. Is it too late to reimagine a subject?
Chen Feihua immediately called everyone to open a creative seminar in Shanghai. There are only two requirements: red theme and Shanghai background. However, unlike Yan'an and other places, Shanghai has not many red themes to choose from. Chen Feihua first thought of "The First Chinese Communist Party". He suggested that everyone first visit a conference site on Xingye Road in Shanghai. When
arrived at a conference site, Han Zhen's mind was even more confused: "How do you put this group of great men on stage? Who will play Mao Zedong?"
Chen Feihua also understands that it is too difficult to show "CPC Congress" in the form of dance drama. Can't you skip the meeting?"
returned to the meeting room and everyone continued the discussion. I don't know who first talked about "The Never Gone Electric Wave" shot by Bayi Film Studio in 1958. The film’s prototype is Li Bai, an underground member of the Communist Party of China. He had worked underground in Shanghai for 12 years. On the eve of Shanghai’s liberation, on December 30, 1948, Li Bai was sending out important information at his home at No.107 Huangdu Road, Shanghai. Suddenly Arrested after being surrounded by Kuomintang military police. In the
movie, Li Xia, the political commissar of Yan'an Liberated District Radio, played by Sun Daolin, came to Shanghai and pretended to be a husband and wife with Lan Fang, a female spinning mill worker, and started a 12-year hidden career. During the day, Li Xia was a businessman, and at night he hid in the attic to send and receive telegrams. Later, the two developed a true relationship at work and became a real couple. At the end of the movie, Li Xia died on the eve of liberation.
The deadlock was broken. There was agreement and doubt in the discussion. Some people say that there is a long period of underground struggle in Shanghai's revolutionary history. This theme fits the characteristics of Shanghai. But some people say that you can’t see the dance in this subject. Some people say that the original film is too impressive to be adapted.
Zhou Liya murmured to Han Zhen: "In fact, we can make a spy war scene." Han Zhen turned to look at her, and patted her thigh: "Yes!"
November 2017, dance drama "The Radio Wave That Never Gone" 》The project was officially established.
The film "The Wave That Never Elapses" shot by Bayi Film Studio in 1958
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Shanghai International Dance Center is located in Changning District and is the only cultural venue dedicated to dance in Shanghai. Among the large green spaces are a large theater and a small theater, as well as several dance theaters and schools, including the Shanghai Song and Dance Troupe. The
Shanghai Song and Dance Troupe was first established in 1979. At the end of 2006, it merged with the Shanghai Dance School's experimental dance troupe-Oriental Youth Dance Troupe, with Chen Feihua as its head.
Chen Feihua was admitted to the Beijing Dance Academy in 1980-two years ago, the school had just been upgraded from a secondary school to a university. At that time, there was only one education department, with two majors of Chinese classical dance and Chinese folk dance. Chen Feihua It is the latter who applied for the exam. That Beijing DanceA total of 60 students are enrolled in the college, and many of them have become the pillars of the Chinese dance industry. After graduating from
university, Chen Feihua returned to Shanghai and entered the Shanghai Dance School, where he has been engaged in dance teaching. During that time, he also served as the executive deputy head and artistic director of the Oriental Youth Dance Company. Zhu Jiejing and Wang Jiajun, the chiefs of Shanghai Song and Dance Troupe, were originally actors from the Oriental Youth Dance Troupe. Chen Feihua said, “In fact, most of the children in the troupe are my students.” The
troupe has experienced difficult times, especially in 2009. The Shanghai Song and Dance Ensemble was restructured. Chen Feihua said that for about three years, there was great pressure in all aspects, "but we still broke our own way."
In 2014, the large-scale dance drama "Crested Ibis" by the Shanghai Song and Dance Troupe was staged, which was well received. , Played hundreds of shows worldwide.
Chen Feihua has a very broad mind. He likes to watch movies and appreciates the production process of the movie very much-the creation team is set up temporarily, and the team is dissolved after the filming is completed. This way of working is flexible and open. In the creation of "Crested Ibis", he invited Tong Ruirui, the director of the China Opera and Dance Theater, as the director, and the screenwriter was Luo Huaizhen, a famous Shanghai screenwriter who has created many operas.
On the evening of May 5, 2017, Nanning, Guangxi, the dance drama "Crested Ibis" rehearsed by the Shanghai Song and Dance Troupe was staged. Director: Tong Ruirui, screenwriter: Luo Huaizhen, starring: Zhu Jiejing and Wang Jiajun. From Visual China
After the theme of "The Electric Wave That Never Elapses" was determined, Chen Feihua found Luo Huaizhen again and hoped to cooperate again. At first Luo Huaizhen declined. On the one hand, he feels that he is not good at this subject matter. On the other hand, although he is a "post-50" contemporary with the movie, he has not been impressed by this movie. "The characters are all facialized." What he likes is The villain actor Wang Xingang in the movie said, "He used to act as a hero, but I was so handsome when he played a villain with a cigarette."
Later, the staff of the Shanghai Song and Dance Troupe sent him a Soviet combat song. The lyrics are a monologue of a hero. It probably means: How much I want to live until tomorrow, still smell the coffee, open the curtains to let the sun in, and go shopping with my girlfriend...
Luo Huaizhen said: "It doesn't directly say what ideals I want to achieve, I want to serve the country, but simply say that I want to live until tomorrow. This is the wish." This song gave him the feeling of creation, and he took over the script. Start researching relevant information. The script of
dance drama has no lines, just tells the story and writes the relationship between the characters. Luo Huaizhen spent more than ten days doing preliminary research and then began to conceive.
He watched the movie "The Electric Wave That Never Elapsed" again, and felt that the story did lack dance, and there must be room for the story in the dance drama, so he designed several important scenes that did not appear in the movie:
Newspaper. In the 1930s and 1940s, Shanghai's newspaper industry was very developed. Luo Huaizhen remembered that he came to Shanghai to work in the 1980s. The Shanghai Culture, Radio, Film and Television Bureau at No. 2 Beijing East Road has a large public office area. “Dozens of people sit in a hall where actors can perform dances.” So he changed the identity of Li Xia, the main character in the movie, from a small grocery store owner to a newspaper clerk.
In order to emphasize the characteristics of Shanghai's urban culture and at the same time provide space for dance drama directors, Luo Huaizhen also added a cheongsam shop and Shikumen to the specific scene design.
On the morning of April 5, 2018, in the conference room of Beijing Poly Plaza Hotel, Luo Huaizhen read the script aloud to the creators. The script is not long, only a few pages—there are no lines on these pages such as "dancing duo here", "dancing solo here for three minutes". Luo Huaizhen said that what he wrote was a situation.
In the script, he described the city in Shanghai, rainy and rainy, there is the city in the mist, and there is depression in the city. People are walking in a hurry. In this walk, the intelligence personnel are transformed into various roles in the market. The crisis is full of and exciting. The situation of
later became the overall atmosphere of the opening dance. On the stormy streets, people in black holding umbrellas swiftly shuttled, and many stories happened in this scene of tight rhythm and emotional depression. After
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got the literary script, Han Zhen and Zhou Liya spent at least two months digesting, assimilating, and developing, and preparing the director's desk book—similar to the movie’s sub-camera book. The structure of
dance drama at this timeBegan to determine. The stage screen is divided into several scenes, which scenes need to be displayed, which scenes need to be rendered, a certain scene should be single dance, double dance or group dance, how to arrange the speed of the rhythm, which link should be reversed, who and who should Intertwined... are all details to consider.
During those two months, Han Zhen and Zhou Liya spent time together almost every day, chatting about scripts, and sitting there with "big eyes and small eyes" if they couldn't talk.
Once in the small garden of Zhou Liya's house, two people sat for a week in a row. They sat even if they couldn't think of it, and looked at their own things. Sometimes I couldn’t "hold" a word in the morning, so I ordered a takeaway, and then I "hold" after lunch; sometimes I didn't "hold" it in the afternoon, but by the next morning, all the characters might be all The code is clear.
Han Zhen explained: "The director's console is not meant to be as simple as converting a literary script, it is actually a process of second creation." If some plots are difficult to express in dance, you must find ways to avoid them and convert them into Another way. Moreover, the literary script provides only an overview, and they need to fill in the details and the flesh.
In June 2018, they completed the first draft of the director's console book.
Next, they began to talk to each type of work, including composition, stage art and so on. Each type of work requires at least two months to design and then refine it.
Zhou Liya said that when they talked about composition, costumes, and stage art, they were already talking about a spatial stage structure, not a linear text structure. "When I gave it to the console, the composition was very clear. This place is a group dance, this place is a duet dance, what does this duet dance mean, it is eight minutes or five minutes. Each stage has a beginning and a transition." , Has formed all the drama logic.
On August 18, 2018, the dance drama "The Wave That Never Elapses" officially opened.
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On the first day they entered the rehearsal hall, Han Zhen and Zhou Liya called the actors to sit in a circle on the ground and hold a script reading meeting. They found some music that matched the temperament of the script, and read the script vividly. After reading, they asked the actors: "Which role do you think you are suitable for?"
The first reaction of Wang Jiajun and Zhu Jiejing was that they both wanted to play the villain.
Wang Jiajun had asthma when he was a child and was in poor health, so his parents sent him to learn basketball and swimming, and also took him to the sports school. The teacher asked him to do a standing long jump and found that he had flat feet. The teacher said that you may not be very suitable, and I feel that you will not grow too tall in the future. When
was 9 years old, the Shanghai Dance School went to Wang Jiajun's elementary school to look for "seeds". It is very simple: body shape, appearance, small face, three heads, long body... They asked Wang Jiajun, would you like to take a test at our Shanghai Dance School? Wang Jiajun took the test notice to go home, and his mother said to him "Go". On the day of the
exam, more than one hundred children came, and each one issued a number. Those who didn't get the number were waiting in the classroom. When Wang Jiajun saw other children dancing there, some children would somersault. He was stupid. He did a broadcast gymnastics in the examination room and went home. He thought he must have been brushed, but he did not expect to be admitted. He later thought that the teacher might have liked him because he hadn't learned dance, and the conditions were pretty good, "a piece of white paper is better to portray."
studied in Shanghai Dance School for half a year, but Wang Jiajun, who had a weak dance foundation, was almost dismissed. "Other children would stab their legs when they entered. I couldn't press them down for a long time, just like killing a pig." Wang Jiajun remembered that during that time he cried as soon as he got home. "The teacher and the parents Say, if you have time to let your child go back to school now, if you decide to continue to learn dance, if he doesn’t dance so well in the future, is it going to delay the child? Your parents think about it yourself.”
Wang Jiajun’s mother said, others can do you It is also possible. Later, when I went home during the weekend, my mother followed the teacher's movements to help Wang Jiajun press his leg. Wang Jiajun said, "I thought my mother was cruel." After studying at Shanghai Dance School for three or four years, Chen Feihua took over Wang Jiajun's class.
"The teacher didn't recognize me before, but when Chen Tuan gave us a lesson, he put me in a very important position." At that time, Wang Jiajun was not able to get up in the class. He was confused and didn't understand. Why. He thought, maybe Chen Tuan regarded him as a particularly good seed, "But ISlower than others, especially slow, slow to learn, slow to come in passion, and slow to get acquainted with others. "At this point, there is a huge contrast between him and Zhu Jiejing. "Today's cooperation with Zhu Jiejing is so smooth, probably because the two people's personalities complement each other. "
Shanghai Song and Dance Troupe's chief dancer Wang Jiajun and Zhu Jiejing have been partners for many years. On the day of the interview with Vision China
, Zhu Jiejing did not wear makeup, tied a playful hairband on her forehead, and her big eyes turned around smartly. T-shirt, training pants, canvas shoes, when talking about the rise, she simply put her two long legs together, sitting with her upper body upside down, and a windbreaker jacket was taken off and put on. Her appearance was extremely deceptive, "Everyone I feel like I am a pampered eldest lady, in fact, I live very rough", Zhu Jiejing said that she is a boy character-willing to break, not afraid to lose. When
was a child, she was not like this. At the dance school, Zhu Jiejing saw the teacher walking towards him. She took a detour. She couldn't even say "The teacher is good", and she didn't dare to raise her hand to speak in class. When
was still in her hometown of Jiaxing, Zhu Jiejing was a three-good student every year, and she became a captain. The second grade of elementary school After the end, she came to Shanghai, entered a dance school, and became a "level skipper".
"When I was in elementary school in Jiaxing, it was no exaggeration. All the scores did not fall below 98." "Zhu Jiejing said, as soon as she came to Shanghai to study for the fourth grade, she scored 65 points, "I have a huge doubt about myself, and I feel very embarrassed. "
is younger than her classmates, and small and thin Zhu Jiejing felt the huge gap. When practicing, the teacher ranked according to her height, "I will always be next to me." "Gradually, she sealed herself up, "particularly not confident. "
's participation in the national "Peach and Plum Cup" dance competition in the second year was a fatal blow to young Zhu Jiejing. At that time, she managed to keep up with both the cultural and professional courses, and she had just built up a little confidence. As a school The top seeded player of, but in the end did not even get the third prize.
"So I graduated at the age of sixteen, in fact, with regrets. "Zhu Jiejing said. She did not choose to continue studying like Wang Jiajun, but went directly to the Oriental Youth Dance Company. She wanted to try it on the stage to see if she could do it.
"It's ridiculous, my self-confidence is Established from dancing backing dancers. "Zhu Jiejing remembers very clearly. One time the group invited a choreographer from Guangzhou to rehearse an evening party with thirteen dance passages, one of which was called "The Story of Spring." The director suddenly took Zhu Jiejing from the end after teaching the actions on the first day. One row was transferred to the first row. She didn't dare to jump all of a sudden. Director
said, "You did a good job at the back, so how come you can't jump at the front? "Although she said so, the director didn't change Zhu Jiejing back. Since then, she has almost never been to the second row again.
"I really thank this director. He gave me a taste of the first row." "Zhu Jiejing said, after that, she no longer wanted to stand behind and dance, "I no longer want to hide in a crowd so that everyone can't see me." "As long as
walks into the classroom and dances at the beginning, Zhu Jiejing feels like a clockwork. Even if rehearsing for a whole day, it may not be useful to direct a move at the end, and she is not uncomfortable at all. Although tired, dancing is good for her. It's not a job at all, nor is it a boring rehearsal, "I will feel like I am living, this is my life. "
Zhu Jiejing talked about a ballet that she particularly likes, "Fire Bird"-a bird has been endowed with magic, shines brightly, and becomes the spiritual leader of the crowd, but its destiny is to keep burning itself on the stage. Until the last moment of her life. She paused for a few seconds, "Maybe dance is a kind of magic or a kind of destiny to me. "
For a while, Zhu Jiejing felt very happy to be out of the theater and stage. In 2013, she participated in the TV dance reality show "Dance for Hegemony". "Overnight, so many people know you, it's great to be on TV." "But gradually, she began to become entangled. Every day she turned on her phone and saw someone on Weibo saying that she liked her. She was very happy. When she saw someone who said she did not like her, she clicked in to see who this person is and why. Say you don’t like it.
"It will promote a certain thing, I can only say that it is a certain thing. "Zhu Jiejing found that she gradually lost the rules of dance itself. And the fate of dancers is destined to burn in the theater, so that the audience can feel the actors' breath and every drop of sweat on the spot. She knows that her life should also be in the theater. Here, one after another, thousands of hundreds of venues jump, Instead of jumping like that in front of TV.
After that, Zhu Jiejing returned to the square theater, "feeling like going home". She felt that it was so comfortable with the big screen and the reinforced concrete space; it was so practical to dance with the dancers whom she had known since childhood. "Even if the TV screen is high-definition, it will polish your skin flawlessly."
Until the last two years, Zhu Jiejing was once again invited to participate in "This! It's the first and second seasons of "Hip-hop". But she doesn't want to prove how good and powerful she is. "I have proved it in 2013." She said that she just went to play. She has been in the system environment for a long time. She needs to find something new and exciting. This is why
wants to play the villain.
Zhu Jiejing still did not get her wish. Because the main villain in "The Electric Wave That Never Dies" is a woman, Wang Jiajun turned his attention to the role of the male protagonist "Li Xia", and Li Xia's wife "Lan Fen" naturally fell on his partner for many years— —Zhu Jiejing body.
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Since 2016, Han Zhen and Zhou Liya have been on-site to see the annual assessment of Shanghai Song and Dance Troupe. Wang Jiajun remembered seeing them in the examination room. At that time, he didn't know that they were two directors. He just wondered why he found some people he didn't know to watch again this year.
Zhou Liya said that where they go to rehearse, they have to know the characteristics and basic qualities of each actor so that they can determine which roles can be designed when they are arranged. At that time, the actors of the Shanghai Song and Dance Troupe left a deep impression on them, “The girls in their troupe are very beautiful and have very good basic professional skills.” The director Song Yang of
Shanghai TV Station gave them a good impression. An impression is more interesting. After the start of the rehearsal for the dance drama "The Electric Waves That Never Elapsed", she led the photography team to follow up for 5 months, interviewing 600 hours of material, and finally editing a 30-minute documentary.
Song Yang had interviews with the Shanghai Ballet Company before. The actors there were all in the same position, they were all the same in appearance and size. When she arrived at the Shanghai Song and Dance Troupe, she found that the actors here were of all shapes and sizes, some were tall and some were small, such as He Junbo, who played the role of a small tailor, and Weideley, who played the newspaper’s president, with a small beard. Not all handsome, but for a narrative dance drama, it is very suitable and very dramatic.
The second day after reading the script, the two directors asked the actors who had claimed the nine main roles to make sketches in the rehearsal hall. Zhou Liya said that this is mainly to see the actor's imagination and grasp of the characters.
Generally speaking, dance drama is considered to be "longer than lyric and less narrative". Dancers also generally lack the ability to grasp drama characters, and they usually practice basic skills in training. And "The Electric Wave That Never Dies" is precisely a dance drama with a strong story and character. Han Zhen and Zhou Liya need to know the abilities of each actor in character performance.
They set a plot for Wang Jiajun and Zhu Jiejing-what they should do when they get the information. "It's very simple, one or two minutes can be done," the director said.
Wang Jiajun was confused all at once. He hurriedly pulled Zhu Jiejing to discuss at the door of the classroom, saying whether to add two actions, such as tugging at each other, or having a dispute, "The first one gets hot, it's a very original thing in retrospect." After watching
Han Zhen and Zhou Liya, they first approved the physical movements of the two actors. Dancers dare to put themselves into the plot and roles, which is worthy of recognition, but they told the two actors that the portrayal of the characters needs more time to temper.
dancer is a very cruel profession. Zhou Liya said that it has been cruel to theatrical actors and film actors-generally speaking, actors must have certain social experience and life experience in order to better interpret roles. "Like Ni Dahong, he can perform very well at this age." But the dancer is "eating youth", and when he has a sense of life, his body can no longer move.
"Like Wang Jiajun and Zhu Jiejing, they are already very old actors in the dance industry." Zhou Liya said that Wang Jiajun was 34 years old when he danced "The Electric Wave That Never Elapsed". "He has to bear a lot of physical pressure."
Every dancer will have his own physical habits. Wang Jiajun is used to performing long, stretchy dance moves. But from the first day of rehearsal, he knew that the director didn’t need such a thing. “It’s a big challenge for me.” He knew clearly that the way forwardIt's not easy to go. "It used to take six months or a year, and I could have the opportunity to develop another movement inertia; in four months, you would be very nervous just rehearsing the movements. We have to try many movements first, and finally choose one movement. Practice again."
"So I still admire these two protagonists in the end." Han Zhen nodded, "Because when they are shaping this character, it may not be the peak of their limbs. We have to work hard to overcome it. It’s not easy to put pressure on the upper side of the body and work hard on character creation.”
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Zhou Liya said that the dance drama contains two kinds of choreography, one is emotional dance, the other is episodic dance, and the former is demonstrative. , The latter assumes the function of advancing the plot.
In the dance drama "The Electric Wave That Never Elapses", almost all the dances are functional. How do underground party members obtain, transmit and send information, and how do KMT agencies discover and hunt down intelligence personnel... the only emotion? The sex dance is called "Yuguangqu", which is the life of Shanghai alley starring Zhu Jiejing-this is also the colorful passage in the whole dance drama. There are no extra sets and props on the
stage. The lighting is soft, as if engulfed in the early morning fog. A group of Shanghai women in smoky-gray cheongsam use small benches and cat fans as props, accompanied by the slow-paced "Yuguang Song". Dancing gently in the alley, the market is elegant.
"Don't watch the "Yuguang Music" line up early, it's almost finalized." Han Zhen said, how long this dance show has been lined up, how long this dance stage has been polished. Not only dance moves, but also the shape of the alley, the color of the cheongsam, the use of light...every detail has been repeatedly modified. Costume designer Yang Donglin led the team to three cities to choose the fabric of the cheongsam, and finally chose the smoky gray that is not eye-catching on the stage.
music also needs constant consideration. At the beginning of the creation, the main creative team discussed the various possibilities of scoring the allongtang dance clips, until one time the cafe owner heard that he wanted to use "Yuguang" as the soundtrack, and said, "This is good. This is how my grandma gave me I sang a lullaby." He is from Shanghai. "We old Shanghainese are very kind when listening to this music."
Because of the boss’s words, Han Zhen and Zhou Liya gave up other plans. Composer Yang Fan used "Yu Guang Motivation of "Song", rewrite this piece of music.
rehearsal enters the middle and late course, everyone is under great pressure. During that time, Han Zhen often suddenly got up at two o’clock in the middle of the night and stared at Chen Yifei’s paintings for a long time. “I don’t know how it feels the next day after reading it.”
From "The Past in Sand Bay" to "Du Fu" and "Flowers" Mulan, and then to "The Electric Wave That Never Elapses." After working together for many years, Han Zhen and Zhou Liya never had a specific division of labor, and the sparks of creative inspiration all collided together. "Only occasionally when rehearsing, they will be divided into primary and secondary." Zhou Liya gave an example, such as "Yuguang", Han Zhen is the master in charge, and the final farewell duet dance, she herself is more concerned about.
Song Yang has the deepest impression of the memories in the rehearsal hall, and the two directors' sharp and stern expressions; the word they say most is "high-level". At the beginning, following the demos of costume designing with them, the director always said "this is not advanced". Later in the rehearsal, he said "this dance is not advanced" and "this performance is not advanced". When
interviewed actors, everyone would tell Song Yang that he was about to collapse. "Because they have never come into contact with something so dramatic, they feel the unprecedented pressure." Song Yang said, fortunately, these actors are also very savvy.
In order to meet the director's requirements, all actors can do is practice constantly. Every time Song Yang went to interview in the rehearsal hall, he saw that the actors were either practicing moves or thinking about characters. "Sometimes the director is dancing in a group, the actors of those characters, they won't say that they will not be able to queue today, I go to rest, they will be in another rehearsal hall, even if it is a gesture of reaching for something, they have to ponder."
The actors went to the rehearsal hall at 9:30 in the morning to perform physical activities for an hour; rehearsals started at 10:30 and rested for one or two hours at noon; they continued to rehearse at three in the afternoon until the end of eight or nine in the evening. If the director has inspiration today, he will schedule a little more time. "The director is very good. Even later, it will always end at ten o'clock." Wang Jiajun smiled and asked the reporter after speaking, "I said it was very good, do you think it was surprising." Small face, big eyes, high nose, this Zhang Yingjun's face still retains the innocence and shyness of the big boy, and it flashes past.
In Zhou Liya's opinion, the dance drama "Never End"The Passing Wave" can be said to be a breakthrough in the style of the Shanghai Song and Dance Troupe.
"In the past, their troupe's works were relatively freehand, and the actors were all beautiful." During this rehearsal process, the two directors asked Zhu Jiejing to be "true" instead of "beauty".
"For the first time in this dance drama, I did not put beauty in the first place." Zhu Jiejing said, it was not easy for her.
"When I first started rehearsing, I actually didn't love Lanfen's role at all, because she was not beautiful." Zhu Jiejing said that she was a person who "beautiful is following", "I am a slave of beauty, either beauty or death." And the feeling of this role is completely different from the beauty she thinks, "So I was very uncomfortable at the beginning." The so-called "beauty" of
dancers is to modify. For example, if someone shoots you from behind, the response of a dancer with many years of experience must be to breathe first, brew a fan, and then draw a small "Nike" on the chin, looking back affectionately at the other party. Zhu Jiejing stood up and made a demonstration, still emphasizing, "You must have a chest and waist, and you can't see your nostrils when you look up."
But in the characterization of "The Electric Wave That Never Dies", Han Zhen and Zhou Liya shook their heads when they saw these things, "In life your boyfriend calls you, you can't be like this."
Zhu Jiejing's body and figure They all belong to the larger Tsing Yi type, with more grainy and angularity. In Han Zhen's imagination, Lanfen's role should be softer.
When rehearsing "Yuguang Music", Han Zhen always felt that Zhu Jiejing's whole body was like a tree branch, like a bone, without flesh and blood, without the natural and natural look of a woman. What she wants is the feeling of "particularly boring, and the anger will be put on the ground".
She was not allowed to put on makeup or nail polish during rehearsal. The director even said, "Don't wear such tight clothes, and don't look so good." So far, in order to look rounder and closer to the role, Zhu Jiejing often wears autumn clothes and long trousers in her costumes when performing. . "They saw that I lost weight again this time, so they told me to eat fat before Beijing (show)."
"So in "Yuguang", including the double dance at home, she did a lot Self-adjustment and digestion took more thought than other actors to change themselves, not just standing on stage." Han Zhen said that only the actor himself knows the suffering of this process.
On August 2, 2019, the dance drama "The Wave That Never Gone" was performed in Xi'an. The only emotional dance in the whole drama is called "Yu Guang Qu", which is the Shanghai lane life starring Zhu Jiejing-this is also the colorful passage in the whole dance drama. From Visual China
On August 2, 2019, the dance drama "The Wave That Never Gone" was performed in Xi'an. The picture shows "Yuguang Music". From Visual China On August 2, 2019, the dance drama "The Wave That Never Gone" was performed in Xi'an. The picture shows "Yuguang Music". From Visual China On August 2, 2019, the dance drama "The Wave That Never Gone" was performed in Xi'an. The picture shows "Yuguang Music". Four months of intense rehearsal from Visual China
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quickly passed. On November 24, 2018, the crew entered the Taicang Grand Theater, Jiangsu, and entered the stage of stage design and synthesis. The creation of
dance drama is a very large system project, and also a comprehensive art body, including music, stage art, costumes, props, sound, lighting, etc. This time, "The Wave That Never Dies" also uses some image elements. How does the
telegram move into a dance? This is a question from Song Yang, director of Shanghai TV Station, before the interview, “We used to watch movies, and the most familiar thing was that Mr. Sun Daolin was sitting there and sending a telegram.” During the in-depth interview process,
found the answer: in fact, this movie There are not too many telegraph plots in the dance drama, but the focus is on using some freehand methods of the stage drama to express the tension of the spy war.
"The director is very clever, very thoughtful and talented." Song Yang said that in the rehearsal hall at that time, they could not imagine what a dance drama this would be like. With the digital feel of "Empire", the telegrams were all printed on the scenes, and I just started it."
On December 2, 2018, the crew conducted the first lineup with makeup at the Taicang Grand Theater.
Luo Huaizhen went to see the scene. This was the first time he saw the whole picture of this dance drama. After handing the script to Han Zhen and Zhou LiyaLuo Huaizhen has only been to the rehearsal hall once, and watched a few episodes of the townhouse. "With rainy night opening and market cheongsam, I thought this play could be done." The
dance drama still adopted the basic plot of the movie, Li Xia and Lan Fang Pretending to be a husband and wife and embarking on a 12-year hidden career, there are many roles in the play. Newspaper secretary, photojournalist, tailor, little apprentice, rickshaw driver, president, flower girl, they all have hidden identities, and danger is approaching. ……
put out a subtitle at the end of the play-"The long river runs silently, only love and faith will last forever." This sentence of
came from the hands of two "post-90s" on the crew. Chen Feihua said that at that time he asked the other party to write two hundred sentences to refine the spirit of the Communists of that era. Seeing the words "Changhe ran silently", Chen Feihua clapped his hands and praised, "please ask for couplets."
Several days passed, but the creators did not see satisfactory links. There is a saying "their figure never goes far", Chen Feihua feels that it is very close to the temperament of the whole show, and he likes this kind of "petty bourgeoisie" expression. Han Zhen believes that the other sentence "Only love and faith last forever" is more direct and more sensible.
In the end, they chose the latter because the important idea of this work is faith.
On December 11, the crew finished their half-month-long synthesis work at the Taicang Grand Theater and returned to the Shanghai International Dance Center to further revise, polish and synthesize; ten days later, the dance drama "The Never Dying Wave" was held in Shanghai International Premiere at the Dance Center. The original 6 performances were temporarily added to 9 performances, and tickets for the performances were all sold out.
In June of this year, "The Wave That Never Gone" won the 16th Wenhua Award. In August, he won the "Five One Project" award from the Central Propaganda Department.
On August 2, 2019, the dance drama "The Wave That Never Gone" was performed in Xi'an. From Visual China
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In August 2019, the dance drama "The Wave That Never Gone" launched a national tour.
"The Electric Wave That Never Dies" is the fastest out of the lap. It really attracts ordinary audiences, audiences who love drama, not just dance theater audiences." Han Zhen has always been confident in the quality of this dance drama," But the word-of-mouth bursting into this is completely unexpected."
On the evening of October 23, "The Wave That Never Flies" returned to the Shanghai International Dance Center Grand Theater.
In just one and a half hours, there was not a single line, the plot was full of suspense, interlocking, and even parallel montage scenes commonly used in movies appeared-when an underground transportation station in Shanghai was destroyed and the intelligence clues were interrupted, the stage Divided into two time and space, one is Li Xia looking for a hiding place for intelligence in a cheongsam shop, and the other is Lan Fen sitting in a rickshaw ready to shoot and kill a spy who pretends to be a driver. The melody of the music strongly suggests the arrival of the critical moment of life and death. With a shot of Lan Fen's shot, the two time and space merged into one instantly-the spy was killed by Lan Fen, and Li Xia got the intelligence.
When watching this episode, almost everyone feels dizzy and emotional. During the
performance, there were 13 applause. At the end of the performance, there was a curtain call that lasted nearly 5 minutes, with constant applause, flooding the entire theater. When the curtain fell and the lights came on, many viewers did not rush out of the show, and they kept sighing, as if they had watched a blockbuster movie. Feng Shuangbai, chairman of
Chinese Dancers Association, commented: "This work combines drama and dance very well, reaching a demonstrative height. It can be written into the textbook of the dance academy, showing the new aesthetics of contemporary dance drama creation. Spirit."
In December this year, the crew will usher in the 100th performance at the National Centre for the Performing Arts. "We will perform two performances in Beijing on December 6th and 7th this time. Once we went online, 4000 tickets were sold out within an hour. Later, we negotiated and added another one in the afternoon on the 8th, with a second kill in 20 minutes. Chen Feihua said that he even experienced "the feeling of being an internet celebrity."
He has ambitions and hopes that "The Electric Wave That Never Dies" will become the "residential show" of the Shanghai Song and Dance Troupe. "If we operate well, it should be possible."
