Rocks and grass spread from the stage to the raised orchestra pit area in front, spreading out a rough and primitive manor. On the iron-like walls, the branches and leaves of the locust tree grow wildly, tearing and interlacing ferociously, just like the family living here. On th

Rocks and grass spread from the stage to the raised orchestra pit area in front, spreading out a rough and primitive manor. On the iron-like walls, the branches and leaves of the locust tree grow wildly, tearing and interlacing ferociously, just like the family living here. On the evening of November 12, "Desire Under the Elms", one of Beijing People's Performing Arts' most acclaimed works in recent years, ushered in its third performance at the Beijing International Drama Center Cao Yu Theater. In 2021, the new version of "Desire Under the Elms" directed by Ren Ming and Cong Lin and starring Yu Mingjia, Zheng Yunlong, Li Lin, etc. premiered at the newly completed Beijing International Drama Center Human Art Theater. In the past three years, almost every performance of "Desire Under the Elms" has been sold out. For this revival, the small theater has been "upgraded" to a large stage. The obviously spacious space not only accommodates more viewers, but also brings deeper changes to the work.

"Desire Under the Elms" is the masterpiece of Eugene O'Neill and is known as "the first great American tragedy". O'Neill vividly portrays the elderly and greedy father Cabot, the young and flamboyant successor Abby, and the sensitive and gloomy young son Iben in a manor house. The relationships between the characters are deep and complex, with strong dramatic conflicts. When performed in a small theater, the actors' emotions and expressions are close at hand, and their huge appeal is a highlight of the whole play. "This is a work with a lot of 'inside'." , who plays Aibi, said in Mingjia , from the initial ambition to seize the manor, to later falling into love and getting lost in suspicion, Aibi The transformation is accompanied by a rich, fiery and instinctive emotional expression, which "needs to let the audience hear their breath."

However, a larger theater directly brings about changes in the viewing distance and stage presentation. Compared with the small theater version, the current stage design further expands the space while retaining the original style. Build a second floor to increase the performance area and height difference. The alternating light and dark lights and the reciprocating music flow throughout, constantly metaphorizing the emotional changes and destiny of the characters - how to continue to bring the texture of a small theater to the audience on this stage. , during the rehearsal, Yu Mingjia was "very anxious" for a time. The creative team spent a lot of energy repeatedly adjusting the schedule. For example, the actors frequently performed in the orchestra pit, which was closer to the audience, and the glances between Abby and Iben were changed from looking at each other at eye level to upstairs and downstairs. "Even if we are in the last row of the theater, I hope that everyone can clearly feel the character's inner pain and convey enough thoughts." Yu Mingjia said.

The changes in space also stimulated Zheng Yunlong's performance. It has been three years since "Desire Under the Elms" premiered. "This year, we rehearsed for the first time in the theater's large rehearsal hall. The banner 'The play is bigger than the sky' hanging there is very powerful." Zheng Yunlong said. Nowadays, as a member of the Beijing People's Art Group, he is obviously more "fit in" and natural than before. Ren Ming once commented that "I'm really afraid that he will strangle Yu Mingjia to death on stage" and was stunned. The stunned sharp corners return to the character's true emotional expression. Iben, who lost his mother very early, grew up in a broken, twisted, and devoid of warmth family. He only wanted to keep his mother's manor. Therefore, when facing the "invader" Aibi, his mental journey is full of intriguing layers. When interpreting his paranoia, calculations, defenses, and entanglements, Zheng Yunlong now seems to no longer rely on some external designs as before: "I need to continue to grow, and then bring growth to the character. A play and a character must You have to keep acting to understand. "

has been accompanying "Desire Under the Elms" for three years. "Now, our understanding and presentation of the script are consistent, and the performances are more tacit and accurate. This is very important." Jungle said.As a director, in the new stage space, he requires actors to master the scope of performance, create new communication with the audience, and "let everyone see our understanding of the work." Next, "Desire Under the Elms" will continue to meet more audiences with a new "look", and this round of performances will last until November 24.

Source: Beijing Daily client

Reporters: Gao Qian, Fang Fei