At the beginning of 2020, Kunqu Opera "Handan Ji" was included in the "Chinese Drama Plum Blossom Award Digital Project". The leadership of the troupe entrusted me with this important task. I was full of embarrassment and anxiety, and I really lacked confidence in my ability to be competent in film shooting.
After all, the art form of film is very different from opera, and it has extremely high requirements for actors to shape their image. As I am nearly eighty years old, you can imagine the challenges I face.
Fortunately, this work was directed by Teng Junjie, a famous director who has won the China Golden Rooster Award twice, which gave me great confidence and strength.
"The Story of Handan" is the last masterpiece in Tang Xianzu's "Four Dreams of Linchuan". Different from the romantic aesthetic of " The Peony Pavilion", it profoundly reveals the strife and corruption within the ruling group, and has a profound impact on The criticism of real society is profound and thought-provoking.
Kun Opera "Handan Ji" is a rare play on the Kun Opera stage in recent years that features an old student as the protagonist. The protagonist Lu Sheng changes his role from young to old, from a poor scholar to an old prime minister, from a civil servant and military general to an important minister and minister. Civilians all need to interpret through different voices, tones, eyes, expressions, gaits and body postures.
On the stage, the transformation of space relies on virtual movements to present it, while in movies, virtuality and reality are intertwined, and the virtual movements of opera need to be coordinated with the real scene. How to accurately and skillfully combine tradition and modernity, virtuality and realism, stage and screen, from the design of body movements to the use of eyes, to achieve exquisite control, it must be both standardized and flexible, rigorous and natural, It is an extremely difficult challenge for me to be both artistic and close to life, to beautify yet maintain authenticity, to be exaggerated yet controlled.
One of the distinctive features of the movie "Handan Chronicles" is that it is shot in real scenes. Many scenes use long shots from one shot to the end, while the performance of Kunqu Opera is a freehand art that pays attention to procedures. The combination of the reality of the movie and the virtuality of Kunqu Opera, the virtuality of the small stage and the reality of the big screen, the freehand opera formula and the realistic film narrative all put forward higher artistic requirements for me. During the filming process, the director cleverly combined film and opera techniques, using elements of virtual performance to create unique artistic effects. He used lens language to enhance key actions and details, allowing the audience to have a deeper understanding of the characters' inner world and Emotional changes.
For example, in the scene of "Free Trial", Lu Sheng was extremely eager for fame. Cui whispered something into Lu Sheng's ear, suggesting that he use "Brother Kong Fang" to open up his joints. The close-up shots in the movie can capture Lu Sheng's expression of understanding after listening with his eyes wide open. This is a level of detail that is difficult to express in a stage play. In addition, the split-shot shooting method of the movie puts forward more stringent requirements for continuous emotional expression. For example, the scene in "Le Gong" was shot indoors. The weather was extremely hot and muggy that day. I wore a large waistcoat and shot it several times. , however, I still have to keep my emotions full and show Lu Sheng's elated and arrogant mood. The dual physical and emotional challenges made me sweat profusely, but they also achieved the real texture of the character.
"Death Escape" is the most important scene in the play. It is also known as "Yunyang Dharma Field" in the traditional classic excerpt of Kun Opera. It is one of the three famous Dharma Fields in the Kun Opera Laosheng repertoire. Through a set of "feelings" The Northern Opera Suite "The Emperor's Favor" expresses Lu Sheng's grief, anger and despair. The director uses long lenses to make the audience feel as if they are actually on the scene. The advancement of the lens shows the changes in levels of close shots, middle shots and long shots, while also capturing local close-ups and panoramic views. Lu Sheng's monologue when he fell to the Soul Bridge did not have a gorgeous figure, but conveyed his helplessness, despair and regret through his voice and eyes. This is an effect that stage performances cannot achieve.
In the scene "Return", Lu Sheng was summoned back as prime minister, and his relationship with Si Huguan was instantly reversed. The changes in their status and expressions were vividly shown through close-up shots. Although the director suggested using a stunt double to complete some flipping actions due to my age, I insisted on doing it myself and completed the filming with respect for the art and professionalism.
In "Shengheng", Lu Sheng's conversation with Gao Lishi before his death revealed his greedy, careless, repetitive, and flattering and calculating character. Before his death, he did not forget his posthumous titles, posthumous titles, and descendants. s arrangement. In this performance, I broke through the old-fashioned formula and used some colorful-faced performances with a sense of life. When I came out, I did not walk in the steps of an old student, but walked out shivering and shivering. Some changes have also been made to the makeup to make it closer to the image in film and television works to enhance the realism of the character.
From the desire for money and power when "entering the dream" to the regret and indifference when "out of the dream", Lu Sheng's character transformation is profoundly presented through close-ups. 8k high-definition technology sets new and more stringent standards for makeup, styling and post-production. This time, my collaborators included my old classmates Liang Guyin and Zhang Mingrong, as well as young students from Classes 3, 4, and 5 of Kunming. The age difference also brought me challenges.
In general, the movie "Handan Ji" presents a unique artistic realm to the audience by combining film techniques with opera techniques and virtual performances, and provides new perspectives and ways for the inheritance and development of traditional culture. . The film version of "Handan Ji" is not only a leap in art form, but also a modern expression of the spirit of traditional Kun Opera. Lu Sheng's dream is also the dream in my heart. When I wake up from the dream, what is left is not only the indifference and relief towards life, but also the persistence and love for the endless exploration of art.
Author: Ji Zhenhua
Text: Ji Zhenhua (famous Kunqu opera performing artist) Editor: Guo Chaohao Editor: Shao Ling
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