The novella Pingtan "A Thousand Miles of Rivers and Mountains" is adapted from the novel of the same name by writer Sun Ganlu who won the Mao Dun Literature Award. It tells the story of the Communist Party of China's secret agency in Shanghai that was severely damaged in 1932 and the Party Central Committee decided to rebuild top-secret transportation lines. The underground workers of the Communist Party of China, represented by Qian Li and others, engage in a life-and-death contest with the enemy on the hidden front, which is full of dangers. It premiered the entire set of the first and second episodes on the Shaw Stage in Tianchan for two consecutive nights on July 11th and 12th. The audience held their breath attentively. As the storyline progressed and the fate of the characters changed, they were immersed in the time and space created by the performance. They felt with their hearts the profound connotation and heavy weight of the keywords "sacrifice", "let go" and "faith" in the story. After the show, Still not satisfied.
Pingtan "A Thousand Miles of Rivers and Mountains" performance scene
In order to perform "A Thousand Miles of Rivers and Mountains" well, the Shanghai Pingtan Troupe formed the strongest lineup. All eight national first-class actors appeared on the stage, each taking the lead, and more than 20 main actors completed their respective roles. , young actors particularly cherish this opportunity for experience. They used all 18 traditional martial arts including "talking, playing, singing and acting" to tell the thrilling and soul-stirring story of the hidden front amidst the sounds of pipa and three-stringed pipa. In terms of scene design,
expands the traditional table and two chairs into a wider interface for four people or even wider. Screen projection, light changes, semi-interval solid backgrounds and sliding chair movements also create conditions for the creation of alienation effects and plot retrieval. . The interlude music is also designed with great care. Although the music is not long, it directly refers to the 1930s where the characters live. In such neon lights and flowers, the young revolutionaries are dying for their ideals and beliefs. Born, in particular, shows a kind of tragic feeling, and then seamlessly connects with the actor's singing voice, which is not inconsistent at all.
As director Wang Xinyi said: In the past, Pingtan was listened to in small teahouses, but now it is appreciated in large theaters. The audience's "sensory stimulation" must be considered. We use technological means to make the originally flat stage form more three-dimensional, so that old listeners can have a different listening experience. This also greatly increased the density of the entire performance, making the art of Pingtan complete a leap forward.
Because the male-female ratio in the repertoire was "seriously imbalanced", there were times when the male actor's three-stringed instrument was a little thin when singing solo, so he arranged a pipa accompaniment posted behind the scenes. No one was seen, but there was beauty and harmony like colorful clouds chasing the moon. . The duet between the two characters is also a striking feature of this work. It is either lyrical, sentimental, or farewell. The same key, different voices, and composition according to chords actually create the charm of a Western opera aria. When the lingering sound lingers, it’s time for thunderous applause.
Of course, just like in novels, the most important task of an actor is to shape the character. "A Thousand Miles of Rivers and Mountains" is Sun Ganlu's steady and powerful pace of history under the label of "avant-garde writer". He has changed from his usual "slower than slow" to a narrative that is faster than a storm and an escape room. Types, intricate character relationships, the first glimpse of the hidden world, twists and turns of the plot, inevitable conflicts caused by adhering to two beliefs and even life and death, all of which enable many characters to acquire distinctive personalities and development logic in conflicts and conflicts, and provide a solid foundation for the story. Transplants from other art forms provide sufficiently trustworthy texts.
Pingtan has accumulated a lot of successful experience in paying tribute to and adapting classic literary works. This is due to the respect for the artistic rules and characteristics of Pingtan by generations of famous masters. However, a certain characteristic of stage art, if used improperly, may also become a weakness that restricts oneself. Traditional Pingtan is characterized by one person and multiple roles, while "A Thousand Miles of Rivers and Mountains" uses one person and one role based on a strong lineup, and allocates roles according to the genre genes and expertise of each actor.For example, Gao Bowen, who has always appeared as a positive character, dared to challenge himself and played the villain Yi Junnian, successfully interpreting the split personality and erratic behavior of a two-faced man after losing faith; Jiang Xiaobo played Ye Qinian, accurately portraying the role of a secret agent leader. The cunning old man and the grief after losing his beloved daughter; the roles played by Wang Cheng and Yu Shengqi played a lubricant role in the evolution of the plot, especially the use of dialects and exaggerated performances similar to Peking Opera clowns, which well adjusted the stage atmosphere. . This is not only a simple reform of character configuration and scene, but also an active exploration of Pingtan art integrating into the new aesthetic requirements of the times. Of course, the traditional table and two chairs are still the basic space for imagination. It is a little regrettable that the relationship network of this drama gives very limited lyrical space to several pairs of male and female characters. Pingtan's advantage in "talking about love" cannot be fully utilized. If the extension of the emotional line can be strengthened, it should be more Wonderful.
Pingtan "A Thousand Miles of Rivers and Mountains" performance scene
Another breakthrough in "A Thousand Miles of Rivers and Mountains" is the introduction of a director system. There is no such thing as a director in traditional Pingtan, whether it is a mid-length or a full-length piece, but we have examples to follow. When the "Little Song Troupe" came to Shanghai, it transformed into a Shaoxing opera with a larger space for expression, largely due to Yuan Fenxue's performance in A key step in the reform of repertoire and performances was the introduction of the director system. So, in today's Internet context, Pingtan art must adapt to new appreciation habits and communication methods. It is also a natural move to introduce a director system through innovative repertoires. I believe it will bring more possibilities to the expression methods and repertoire presentation of Pingtan art.
Finally, I would like to say one more thing. The five-hour performance of the medium-length commentary "A Thousand Miles of Rivers and Mountains" seems a bit long for the audience. If it is cut into four or six levels, the form can be simple or complex, and not only can we get more More space for expression is conducive to a deeper exploration of the inner world of the characters. It also enables this rich work to withstand polishing from more aspects and becomes a high-quality performance that can be presented in different situations.
(The author is the consultant of the Art Committee of Shanghai Pingtan Troupe and the director of Shanghai Writers Association)
