"This time, I saw the youthful style of a 72-year-old drama theater that has entered its seventies." Li Guoyi, Chairman and Secretary-General of the Shanghai Cultural Development Foundation, lamented the support given by the Beijing People's Art Theater to its Shanghai residency

"This time, I saw the youthful style of a 72-year-old theater that has entered its seventies." Li Guoyi, Chairman and Secretary-General of the Shanghai Cultural Development Foundation, lamented the Beijing People's Art Theater's residency in Shanghai this year Give him a surprise.

During the 23rd China Shanghai International Arts Festival, Beijing People's Performing Arts, a benchmark in the Chinese drama industry, brought five major dramas "Teahouse", "Mutiny", "Sunrise", "Du Fu" and "Under the Red Flag" to Shanghai audiences in a "matrix" manner The meeting received an enthusiastic response from the market. Most of the shows were hard to get a ticket for, and the show flooded social networks.

"Beijing People's Arts does not want to be a theater that rests on its reputation. While inheriting its rich family background, it must also keep pace with the times and constantly create new works and art forms." Yesterday was the end of the residency. On the same day, "At the Art Festival, Meet Beijing's Colorful Artists - Beijing People's Art Theater Shanghai Residency Theme Seminar "Held in the Jinjiang Auditorium, Beijing People's Art Director Feng Yuanzheng and Pu Cunxin , Yang Lixin and other actor representatives had in-depth exchanges with people from Shanghai's literary and art circles to discuss how to continuously polish the golden sign and the challenges faced by drama art in the new era. opportunities and challenges.

The inheritance and innovation of the "old store" of art

"Beijing People's Art Residency Performance set off the cultural carnival of China Shanghai International Arts Festival, door "It's like a city, full of people." In the eyes of literary critic Mao Shi'an, Beijing People's Art Theater was once led by Guo Moruo, Lao She, and Cao Yu, directed by Jiao Juyin, and had a cast led by and then . It was the most prestigious and prestigious theater in China. The most iconic performing arts group. "The Wutai repertoire performed this time is one play after another, which shows that this art 'old shop' adheres to the spirit of realism in Chinese drama, presents in a variety of ways, and adheres to the past and creates new artistic achievements. In the performance, the actors are not divided into main roles, and the whole body is The dedication makes every character vivid and vivid, making every play exude a strong vitality and artistic appeal.”

"Teahouse"

"Mutiny"

Rong Guangrun, a professor at Shanghai Theater Academy, saw Beijing People's Art Institute's confidence and persistence in its own style in "Teahouse" and "Mutiny", and also discovered theater in "Sunrise" and "Du Fu" creativity. "If a theater does not have its own unique style, it is impossible to become a successful grand theater. But if it is limited to a certain type of drama, that is not the style a grand theater should have. After the reform and opening up, Beijing People's Art Theater Working more consciously in this aspect is the endless driving force for a theater."

Regarding inheritance and development, veteran opera actor Yang Lixin is outspoken. High demands on oneself and non-relaxation are the foundation of the theater. Beijing People's Art Group is the only drama performance group in China that does not use microphones. "This is not only a habit, but a requirement for actors. If the audience cannot hear you without a microphone on this stage, you should not perform. Only in this way can you maintain the performance." Quality, pursuit and level"

"Zhenghong's Flag" html. 4

"There are more than 40 characters in "The Red Flag" and more than 70 characters in "Teahouse". Each character is memorable." Liu Minghou, a professor at Shanghai Theater Academy , said that Beijing People's Art Theater In terms of composition and language, they are often highly artistic, and their rich dialects and colloquial expressions make the characters in the play more life-like. At the same time, the actors' performance style is real and natural, focusing on emotional expression. The five works conducted profound criticism and reflection on social phenomena through the portrayal of the characters' fate.

Exchanges and collisions between two major drama towns

Beijing and Shanghai are both major centers of drama art. Since the 1960s, Beijing People's Performing Arts has performed southward many times, creating a unique spark between Beijing-style drama and Shanghai-style culture. Pu Cunxin recalled that the Beijing People's Art Theater came to Shanghai to perform in 1988 and brought five major plays, which were very sensational. However, a newspaper report gave them a warning."I clearly remember that the title of this report was "How long can the banner of Beijing People's Art Festival continue to fly?" At that time, the old batch of actors in Beijing People's Art Theater were gradually bidding farewell to the stage and faced the problem of taking over the baton from the old to the new. This sentence has always inspired us, I think these are words from the bottom of my heart, and a deep sense of worry. It is for this reason that our group made up our minds to start performing "Tea House". It has been more than 20 years since the show became more stable and deeper. Some, it’s time to take over the show again.” In addition to performing in Shanghai, Pu Cunxin also loves to watch the works of his colleagues in Shanghai. He talks about the stage works in Shanghai and says, “I am willing to follow their inspiration, and I have benefited a lot. As a colleague, , I applaud the exchanges in literature and art, especially drama, between the two places. We have our own characteristics and can learn from each other’s strengths and improve together.”

"Du Fu"

Wu Xiaoming, former artistic director of the Shanghai Municipal Culture, Radio, Film and Television Administration, compared Beijing People's Art's Shanghai residency to "a dialogue between Shikumen and Tiananmen", "a dialogue between Shanghai and even the Yangtze River Delta region" The audience is attracted by the charm of the plays and actors and enters the theater. The enthusiasm of audiences across the country further prompts creators to think about the future direction of Chinese drama and what works they should give back to the audience. Therefore, we must call for a group of good playwrights and good actors. A good director and a good actor.” During

’s residency in Shanghai, artists from Beijing People’s Art Institute went to the Shanghai Theater Academy many times to communicate with teachers and students. Huang Changyong, President of the Shanghai Theater Academy, lamented that Beijing People’s Art Institute’s determination to perform and its pursuit of high-level art have benefited the Shanghai Theater Academy a lot. “This performance proves that the cultures of the two places can learn from each other and absorb each other. ”

Xi Meijuan, vice chairman of the China Federation of Literary and Art Circles and chairman of the Shanghai Federation of Literary and Art Circles, said that this residency is large-scale and long-lasting, with rich themes, diverse forms and superb acting skills. , is not only a comprehensive display of the strength of Beijing People's Performing Arts, but also a great opportunity for Shanghai's drama and literary circles to have in-depth study, extensive exchanges and mutual improvement. "The performance will end, but the artistic topics left by it will not end. It will continue to be discussed enthusiastically.”

This seminar is sponsored by the China Shanghai International Arts Festival Organizing Committee Office, Beijing People’s Art Theater, Wenhui News Agency, and Shanghai Federation of Literary and Art Circles.

Author: Wang Xiaoli

Text: Our reporter Wang Xiaoli Picture: Ye Chenliang Fan Jiale Editor: Shi Wei

Please indicate the source when reprinting this article.

"This time, I saw the youthful style of a 72-year-old theater that has entered its seventies." Li Guoyi, Chairman and Secretary-General of the Shanghai Cultural Development Foundation, lamented the Beijing People's Art Theater's residency in Shanghai this year Give him a surprise.

During the 23rd China Shanghai International Arts Festival, Beijing People's Performing Arts, a benchmark in the Chinese drama industry, brought five major dramas "Teahouse", "Mutiny", "Sunrise", "Du Fu" and "Under the Red Flag" to Shanghai audiences in a "matrix" manner The meeting received an enthusiastic response from the market. Most of the shows were hard to get a ticket for, and the show flooded social networks.

"Beijing People's Arts does not want to be a theater that rests on its reputation. While inheriting its rich family background, it must also keep pace with the times and constantly create new works and art forms." Yesterday was the end of the residency. On the same day, "At the Art Festival, Meet Beijing's Colorful Artists - Beijing People's Art Theater Shanghai Residency Theme Seminar "Held in the Jinjiang Auditorium, Beijing People's Art Director Feng Yuanzheng and Pu Cunxin , Yang Lixin and other actor representatives had in-depth exchanges with people from Shanghai's literary and art circles to discuss how to continuously polish the golden sign and the challenges faced by drama art in the new era. opportunities and challenges.

The inheritance and innovation of the "old store" of art

"Beijing People's Art Residency Performance set off the cultural carnival of China Shanghai International Arts Festival, door "It's like a city, full of people." In the eyes of literary critic Mao Shi'an, Beijing People's Art Theater was once led by Guo Moruo, Lao She, and Cao Yu, directed by Jiao Juyin, and had a cast led by and then . It was the most prestigious and prestigious theater in China. The most iconic performing arts group. "The Wutai repertoire performed this time is one play after another, which shows that this art 'old shop' adheres to the spirit of realism in Chinese drama, presents in a variety of ways, and adheres to the past and creates new artistic achievements. In the performance, the actors are not divided into main roles, and the whole body is The dedication makes every character vivid and vivid, making every play exude a strong vitality and artistic appeal.”

"Teahouse"

"Mutiny"

Rong Guangrun, a professor at Shanghai Theater Academy, saw Beijing People's Art Institute's confidence and persistence in its own style in "Teahouse" and "Mutiny", and also discovered theater in "Sunrise" and "Du Fu" creativity. "If a theater does not have its own unique style, it is impossible to become a successful grand theater. But if it is limited to a certain type of drama, that is not the style a grand theater should have. After the reform and opening up, Beijing People's Art Theater Working more consciously in this aspect is the endless driving force for a theater."

Regarding inheritance and development, veteran opera actor Yang Lixin is outspoken. High demands on oneself and non-relaxation are the foundation of the theater. Beijing People's Art Group is the only drama performance group in China that does not use microphones. "This is not only a habit, but a requirement for actors. If the audience cannot hear you without a microphone on this stage, you should not perform. Only in this way can you maintain the performance." Quality, pursuit and level"

"Zhenghong's Flag" html. 4

"There are more than 40 characters in "The Red Flag" and more than 70 characters in "Teahouse". Each character is memorable." Liu Minghou, a professor at Shanghai Theater Academy , said that Beijing People's Art Theater In terms of composition and language, they are often highly artistic, and their rich dialects and colloquial expressions make the characters in the play more life-like. At the same time, the actors' performance style is real and natural, focusing on emotional expression. The five works conducted profound criticism and reflection on social phenomena through the portrayal of the characters' fate.

Exchanges and collisions between two major drama towns

Beijing and Shanghai are both major centers of drama art. Since the 1960s, Beijing People's Performing Arts has performed southward many times, creating a unique spark between Beijing-style drama and Shanghai-style culture. Pu Cunxin recalled that the Beijing People's Art Theater came to Shanghai to perform in 1988 and brought five major plays, which were very sensational. However, a newspaper report gave them a warning."I clearly remember that the title of this report was "How long can the banner of Beijing People's Art Festival continue to fly?" At that time, the old batch of actors in Beijing People's Art Theater were gradually bidding farewell to the stage and faced the problem of taking over the baton from the old to the new. This sentence has always inspired us, I think these are words from the bottom of my heart, and a deep sense of worry. It is for this reason that our group made up our minds to start performing "Tea House". It has been more than 20 years since the show became more stable and deeper. Some, it’s time to take over the show again.” In addition to performing in Shanghai, Pu Cunxin also loves to watch the works of his colleagues in Shanghai. He talks about the stage works in Shanghai and says, “I am willing to follow their inspiration, and I have benefited a lot. As a colleague, , I applaud the exchanges in literature and art, especially drama, between the two places. We have our own characteristics and can learn from each other’s strengths and improve together.”

"Du Fu"

Wu Xiaoming, former artistic director of the Shanghai Municipal Culture, Radio, Film and Television Administration, compared Beijing People's Art's Shanghai residency to "a dialogue between Shikumen and Tiananmen", "a dialogue between Shanghai and even the Yangtze River Delta region" The audience is attracted by the charm of the plays and actors and enters the theater. The enthusiasm of audiences across the country further prompts creators to think about the future direction of Chinese drama and what works they should give back to the audience. Therefore, we must call for a group of good playwrights and good actors. A good director and a good actor.” During

’s residency in Shanghai, artists from Beijing People’s Art Institute went to the Shanghai Theater Academy many times to communicate with teachers and students. Huang Changyong, President of the Shanghai Theater Academy, lamented that Beijing People’s Art Institute’s determination to perform and its pursuit of high-level art have benefited the Shanghai Theater Academy a lot. “This performance proves that the cultures of the two places can learn from each other and absorb each other. ”

Xi Meijuan, vice chairman of the China Federation of Literary and Art Circles and chairman of the Shanghai Federation of Literary and Art Circles, said that this residency is large-scale and long-lasting, with rich themes, diverse forms and superb acting skills. , is not only a comprehensive display of the strength of Beijing People's Performing Arts, but also a great opportunity for Shanghai's drama and literary circles to have in-depth study, extensive exchanges and mutual improvement. "The performance will end, but the artistic topics left by it will not end. It will continue to be discussed enthusiastically.”

This seminar is sponsored by the China Shanghai International Arts Festival Organizing Committee Office, Beijing People’s Art Theater, Wenhui News Agency, and Shanghai Federation of Literary and Art Circles.

Author: Wang Xiaoli

Text: Our reporter Wang Xiaoli Picture: Ye Chenliang Fan Jiale Editor: Shi Wei

Please indicate the source when reprinting this article.