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Although the realism creation method style is not one of the essential attributes of traditional opera, the spirit of realism is one of the essential attributes of traditional opera.
壹
As we all know, opera is ancient in nature. For more than a thousand years, opera has constructed ontological elements such as typification of characters, singing and dancing in performance, freehand style, and even plot formulation. All elements are mutually supportive and integrated, showing an overall "anti-realistic" style. This makes the selection of operas tend to be based on the past of the deceased. Although there are realistic themes such as "Dou'e Injustice", "Eternal Life Palace", and "Peach Blossom Fan", they all have romantic mystery and fictional happy endings. On the surface, Chinese traditional operas are not related to the realism of the West for "anti-romanticism".
However, when we jump out of the category of literary and artistic creation, that is, the authenticity of details, the typicality of images, the objectivity of creative methods and other realistic creation requirements, and enter the level of philosophy and world outlook, we can find almost all ancient classic operas. Such as "The Story of the West Chamber", "The Peony Pavilion", and "The Story of Handan", they all have the spirit of realism, that is, to truly express the thoughts, desires and feelings of the characters, to fully reflect the characters' personalities and human nature, and to objectively observe the times. Characteristics, dialectical analysis of the nature of society, has a clear personal proposition and social educational significance-but more subtle. Whether it can be judged as follows: Although the style of realistic creation method is not one of the essential attributes of traditional opera, the spirit of realism is one of the essential attributes of traditional opera. The reason for the formation of this state must be the unique aesthetic system of "singing and dancing to act out stories", which determines that traditional operas are unrealistic, non-objective, even anti-realistic and anti-objective, from creative concepts, methods to styles.
Real Garden Kunqu Opera "The Peony Pavilion"
In addition, the influence of mainstream ideology has also made the selection of traditional opera "look backwards" in order to give full play to the role of imagination and stylization, and to moderately cover up "the past and the present" Creation purpose. This state of affairs has been in this state for a long time or more, and opera appears to be free from the social status quo and lagging behind the development of the times. In short, for traditional opera, realism is neither a method, nor a genre, nor a style, but a spirit. It uses unreal details (such as the round field) and untypical characterization (types). It can be described as "historical realism" if the name is strong, and the unobjective creative methods (such as the No. 1 in the middle) are shown in twists and turns. The "historical realism" of
貮
opera has lasted for thousands of years and changed a hundred years ago. At the beginning of the last century, as new dramas entered and became popular in China, old dramas also began to reform, and the traditional creative performance model was loosened-realistic themes were widely adopted, such as revolutionary riots, women's liberation, current affairs news, and family ethics; The traditional program was subsequently greatly improved, with the elimination of sleeves and rounds, attempts to split the scenes, reduce singing and dancing, and increase chanting. The change from content to form has accumulated experience for modern opera. In the middle of the last century, the social and cultural status of Chinese opera has risen substantially. Under the requirements and guidance of the mainstream ideology, a large number of modern operas have been choreographed. The content is roughly revolutionary struggle, production and construction, and new life. Attempts to move closer to realism in various aspects such as stage art and stage art. As a result, there is an inevitably collision between realism and freehand brushwork, and there are few modern operas that have achieved artistic success.
Before and after the new century, the achievements, phenomena and problems related to reform and opening up have become the main themes of modern Chinese operas as well as the Revolution, Anti-Japanese War and Liberation War. In the face of the elapsed time, this type of subject matter, as the "realistic subject matter in progress", is the most difficult part of the traditional opera creative concepts and techniques that have been basically restored-these are the ones with the lowest attendance in the opera market. Theme plays; the latter category, as the "youngest historical theme", is relatively slowly entering the range of traditional operas that are good at creating performances. Therefore, although both types of themes are encouraged and supported by mainstream ideology and cultural management, Xiqu seems to be more willing and better at extending brush strokes to the latter and giving the stage to the latter.. Watching these works, it is not difficult to get a glimpse of some subtleties of contemporary Chinese opera ecology, especially the mentality of opera artists. In addition to the external requirements of the political society,
has two internal motivations that motivate the contemporary dramas to arrange and perform revolutionary themes in modern dramas:
's creative subject is the innate consciousness, courage and ability of contemporary opera artists to break through the predecessors; In terms of the noumenon of opera, the outer layer is the experience and lessons of the early modern opera in the use and application of traditional opera forms, which have internal requirements for further verification and correction, and the inner layer is the realism spirit of opera.
As the subject matter of the revolution is fading away, contemporary revolutionary modern dramas are able to give play to their expertise in "representing the past to the present", so that they have conditions to reexamine and reflect on the so-called "typical characters in typical environments" in the past, and use "specific conditions in specific environments" Characters" create and recreate. Perhaps it is time for "historical realism" to come on stage again.
三
The spirit of realism has a historic dimension. In addition to “reproducing typical characters in typical environments” and “place them in a concrete overall environment of continuous development of politics, society, and economy”, this historical dimension, the author believes, should also include the realism of the past. The re-examination, reflection and portrayal of the "atypical characters in atypical environments" considered by the creative concept, especially the re-examination, reflection and shaping of the images of characters that have been deliberately ignored or avoided due to various subjective limitations and objective constraints in the past . This is actually a perpetual process of constantly enriching and enriching realist creation with the spirit of realism, and it is a necessary condition for the spirit of realism to realize eternity.
history is full of richness, and people are full of complexity. Whether it is literary or dramatic, it is entirely possible for contemporary revolutionary modern drama to discover and shape a "new" character image that conforms to historical reality and is not in the past. It relies on new discoveries of historical materials, re-excavation of human nature, re-analysis of the society of the times, and rational inferences and perceptual imagination based on this. Such a character image can also show the complicated process of the relationship between people and society, and can also withstand scrutiny in details. In other words, contemporary revolutionary modern drama is not only more likely to have a realist spirit, but also more likely to be closer to the creation of realism in the narrow sense than before. If such works and character images appear, it will not only help to objectively look at the biases of the revolutionary modern dramas in the past, but also can be used as an overall benefit to the revolutionary modern dramas. From the revolutionary modern drama "Dawn on Fire" by the Shanghai Peking Opera Theatre, the author seems to have seen some clues and even trends.
"Take the Tiger Mountain"
"Azalea"
"Dawn on Fire" premiered in the early summer of 2016, and replayed in early summer of 2017 after several revisions. The play uses the "Red Rock" story as the background and structure to interpret the images of several Communist Party members in prison around 1949. Looking at the whole play, the freehand brushwork of opera matches the realism of the drama, the proficient music and singing, the fluent figure and style, the audience can clearly feel the foundation of the modern Peking opera that once combined a high degree of skill and a high degree of politics. As we all know, Shanghai is the main production area of revolutionary modern drama. In terms of Peking Opera repertoire, "Red Storm" in the 1950s, "Take the Tiger Mountain", "Harbor", "Ode to Longjiang", and "Panshiwan" in the 1960s and 1970s "(Zhihai Longpan), "Weddings on the Execution Ground" and "Azalea" in the 1980s and 1990s were all written by the Shanghai Peking Opera Theatre. In spite of the large number, the above-mentioned dramas have a single character in the creation of the characters, especially the protagonist as the object of praise. Despite the difficulties and difficulties, the direction is completely correct and his position is always firm.
"Dawn on Fire" stills
"Dawn on Fire" is different. The most fresh and profound character in the play is not the "Jiang Sister-type" Shao Lin or the "Yunfeng-type" Old Xu, nor the "Old Fox-type" Xu Yuanju, but a character created by an old student. Fan Wenhua. As the first actor in the play, Fan Wenhua is neither a firm revolutionist nor a complete traitor, but a "unstable revolutionist—not a complete traitor—a firm revolution in prison. "Roller coaster" in the spirit of And "The Dawn in the Fire" put a lot of effort into Fan Wenhua's character image, interpreting his psychological and behavioral changes tortuously and delicately, credible and sensible. As a result, this character not only acted as the driving force for the conflict and the sudden plot change of the whole play, but also constructed the multi-theme of the whole play, namelyThe traditional theme of "persistence or abandon" and the new theme of "the loss and struggle of faith". The different themes of
determine the different characters, and the different characters determine the different performances. Yang Yang, who plays Shao Lin, Dong Hongsong, who plays Xu Yuanju, has a remarkable performance, but it is nothing more than the four-character "comprehensive"; Fu Xiru, who plays Fan Wenhua, uses the power of the script to show strong mental pain and confusion of will, and the resulting irregular singing makes it even more so People are so worried that many viewers believe that the process of this unsteady Communist from panic to decision is more credible than many purely positive and negative characters, and has a more powerful interpretation of the theme of revolutionary victory. It seems that for this character image, which is neither entirely derived from historical data nor purely out of imagination, but is fictionalized through historical analysis and interpretation of human nature, both parties of contemporary operas and modern operas have aesthetic needs. ——Of course, this is only for contemporary people. It is neither the experience of watching dramas in the past era, nor the experience of watching dramas in the future era. Compared with the solidified history, the human heart is the most fresh and changing.
The "Dawn on Fire" stills
Just when the "Dawn on Fire" was re-run, Yang Yiyan, one of the authors of "Red Rock", said goodbye to the world in May 2017. Looking back at the excellent adaptations or adaptations that have occurred in the 57 years since the publication of this novel. Extending works, whether heroes, traitors or enemies, many literary and artistic images have become models of realism that can be copied but difficult to surpass for later generations. I believe that the reason why they can be copied but difficult to surpass is not only because of the vivid characters and exquisite art. And because the political, economic and social environment at that time has gone and cannot return, future generations (including creators and appreciators) will increasingly start from their own political, economic and social environment at this time, and create and appreciate "Reform" and "create" the environment and characters at the time. This behavior is clear and obvious in my mind, no matter how small and subtle. The core task of realism is to shape the typical environment. Typical characters, in order to reflect the essence of people, times and social life in the most vivid, true and profound way. Since we want to win with a highly refined model, since we want "this one" to never be equal to "that one" and "anything" "A", then its typicality must be restrained and restricted by the constantly changing and developing era. In short, the more successful a typical character is portrayed, the more he will be imprisoned by a certain typical environment, and he will never be able to walk. It will not be surpassed by future generations. In other words, all successful realist works must pay this price. This may be when some classic realist plays are moved to the contemporary stage intact. The reason for frequent laughter. In addition, when the typicality is emphasized to the extreme, the limitations will be strengthened to the extreme. Realism creation shortcomings are often reinforced and amplified by political requirements, and the political nature is usually Changeable. It can be seen that realist creation is always in the crisis of social changes and times, constantly accepting challenges, looking for new answers, and always experiencing difficulties. The process of discovering and creating the typical is to realize eternity in the perpetual movement formed by the connection of limitations. The typical characters of
's novel "Red Rock" come from the typical environment of revolutionary struggle, and have been universally recognized by people who have been in the context of revolutionary struggle for a long time, and have become the reason for the success of countless adaptations. But decades later, the times and society, concepts and thinking have undergone tremendous changes. Some people start from the changed times and society, and the changed concepts and thinking, and give a new look at the typical environment and typical characters of the novel. Consider, there will be subversion and subtraction, and what seems to be subversion and subtraction, but in fact it is rediscovered and replenishing. The author believes that the latter more embodies the desire to "see the connection of the past with the contemporary body and mind", which is a phenomenon that starts from the human instinct and also from the original desire of art. From the perspective of modern opera creation, it can be regarded as the inherent requirement of the "historical realism spirit" of traditional opera. This phenomenon occurs not only in modern dramas, but also in costume dramas. For example, the image of Cao Cao has remained unchanged in the feudal social environment for thousands of years, and has not changed in various traditional operas, but it has occurred in the new era of socialist reform and opening up. The great change is the "new Cao Cao" with multiple personalities and tragic personalities in Peking Opera "Cao Cao and Yang Xiu". The play is neither a modern drama nor a realist creation technique, but it can best demonstrate the realism spirit of opera, and can best demonstrate people's creative desire and appreciation needs for the "old characters" in the "new environment". Regardless of whether the subject matter is ancient or modern, regardless of whether the technique is false or true, any play that has a realist spiritQu works, in which era and social environment they were created, will naturally become a mirror of this era and this social environment.
Peking Opera "Cao Cao and Yang Xiu"
As the painter Huang Binhong said, "The appearance of the one who changes repeatedly, the spirit of the one who does not change", shortness and eternity, limitations and advancement co-exist in the creation of realism, which requires the creator to always Possess the logical thinking of history and times, the image thinking of literature and art. After all, it is thought. Some people say that realist writers and artists "must have faith in the first place", but I think it is better to change it to "thought first". Because thinking is diverse and evolutionary, it meets the requirements of realism; while belief is unified and fixed, which violates the laws of realism. With thoughts, writers and artists can choose to have one or several beliefs, or they can reject all beliefs, and they can still shape typical characters in a truly typical environment.
This is the most fundamental guarantee for realism to achieve eternity in perpetual motion.
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