In July this year, "Beijing's Central Axis—A Masterpiece of China's Ideal Capital Order" passed the review of the 46th World Heritage Conference and was successfully included in the World Heritage List, becoming China's 59th World Heritage. The building complex on the central axi

2024-12-13 00:08:03 entertainment 1989℃

In July this year, "Beijing's Central Axis—A Masterpiece of China's Ideal Capital Order" passed the review of the 46th World Heritage Conference and was successfully included in the World Heritage List, becoming China's 59th World Heritage. The building complex on the central axis of Beijing consists of 15 heritage elements such as Zhengyang Gate and connects many landmark cultural landscapes. It is an important carrier of the inheritance of Chinese civilization. The new dance drama "The Towering Zhengyang" for the 70th anniversary of the founding of the Beijing Dance Academy takes the family and country stories of five generations of the Zhengyang clan as its theme, showing the changes of the times spanning a century and the historical memory of the central axis of the capital.

Stills of the dance drama "The Towering Zhengyang"

The history of dance painting of five generations of the family

According to the traditional Chinese five-color system of green, yellow, red, white and black, the whole play is divided into five acts. The dance painting of the five generations of the Zhengyang family spans from From the late Qing Dynasty to the new era, magnificent historical pictures have been displayed.

In the first scene of "Black Ink", dark clouds threaten to destroy the city. With the sound of artillery fire and the weak voice of the opera, "Great Grandpa" experienced the decline of the invasion of foreign enemies in the late Qing Dynasty. His solo dance and the group dance of the palace ladies and guards in red flags showed the tragedy of the mountains and rivers withering and the buildings about to collapse.

In the second act "Jibai", "Xiaobei" who follows Mr. Da in the dark night shows the power of the "May 4th Movement" youth, but unfortunately he died on the rainy night in the east. From the sweetness of newlyweds and pregnancy to the separation of yin and yang between husband and wife, close at hand but far away, the patter of raindrops makes people cry. The first two scenes of the slumped waist and rickshaw dance remind the audience of wonderful dance dramas such as "Only Green" and "The Eternal Wave". In the third act of

"Building Red", the red sun is high and the atmosphere is in full swing. The third generation of "ambitions" witnessed the peaceful liberation of Peiping and gained sweet love in the process of repairing Zhengyangmen . Under the blue-grey Zhengyang Gate, the dancers flew between steel planks and scaffolding, with wide open and wide movements, as if they were walking on the ground. When they lost control of their center of gravity, they performed rhythmic and technically difficult group dances and pas de deux. The love pas de deux of two people lifting, flying swallows, and circling love, and the dance of father and son, where the carp jumps up and jumps up, are like telepathy in the dark. When the restoration of the cultural relics was completed, a festive folk dance was performed amidst the noise of gongs and drums. The woman danced with the bright red silk around her waist, and the peony-patterned round fan in her hand was interchanged with the rolling brush in the man's hand, reflecting the atmosphere of the era when men and women worked together and had fun together.

Act 4 "Hardening Gold", time is like gold. High heels knock on Yi Dong's heart. Grandmothers, parents and sons dance in pas de deux, pas de deux and dances of four deux at the Eight Immortals table, and it is hard to separate and reluctant to say goodbye. The fourth generation of "long journeys" resolutely went south to pursue the spring breeze of reform and opening up. Come to the city where "time is money and efficiency is life" and dance the silky moonwalk and dynamic disco dance. The boys' chair group dance used human body waves to bridge telephone lines. The music of "Young Friends Come to Meet" sounded, and the "fashion dance" of suits, skirts, high-waisted jeans, and big leather shoes brought out the retro charm of the 1980s and 1990s. Amidst the cheers to welcome the 2008 Beijing Olympics, brilliant fireworks bloomed, tourists returned home for reunions, military salutes and Young Pioneers salutes were solemn, and the audience burst into tears.

The fifth act "Hua Qing", Qingyun's ambition, draws a blueprint. The fifth generation of "Hongyuan" wore military uniforms and became a glorious Chinese People's Liberation Army under the sunshine of the new era, marching forward firmly amidst the salute of the 100th anniversary of the founding of the Party.

"Wei Wei Zheng Yang" has solid characters and a strong story. "Grandfather", the general who defended the city, would rather die than surrender, "Xiao Bei" followed Mr. Da to explore the light, "Da Zhi" inherited the family's loyalty and built a new China, "traveled far away" to the frontier of reform and opening up, and "Hong Yuan" in green uniform guarded peace. . Five generations of a family watch over family, love, family and country, reflecting the blood inheritance of generations of dedication to the country. The "Repair Dance" in the third act, and the "Era Dance" and "Entrepreneurship Dance" in the fourth act show the unique styles of the times. The image of the Beijing swift paper kite echoes the names "Bei", "Zhi", "Hong" and "Yuan" of several generations: the heart is with Beijing and the ambition is high. The stories of small people reflect the spirit of the big times. The macroscopic construction of "big history" is inseparable from the detail filling of "small history", and the completion of "small history" is inseparable from the background creation of "big history". The family, country and world, macro and micro, complement each other to compose the story of the Chinese nation. A triumphant song in the era of revival and rise.

City gate architecture guards the home

"The majestic Zhengyang dominates the capital, seizes the beauty of the five cities, and towers the high standards of the nine gates." Among the gates of the capital, the Zhengyang Gate Rules The most venerable system, it was built in the 17th year of Yongle (1419), the reign of Emperor Chengzu of the Ming Dynasty. It is rooted in the historical context of the central axis of Beijing, and stands proudly as the "head of the nine gates" of the ancient capital. It is known as the "gate of the country" known as. Mr. Li Jianwu wrote an article about old Beijing in the 1930s: "The prosperous and broad Qianmen Street starts from Zhengyangmen and goes straight south, as if it leads to the heart of China." Zhengyangmen is the only tower in Beijing. The ancient city gate and the archery tower are intact. It is an image of the urban layout, military defense, etiquette system and architectural art of ancient Chinese society. It participated in shaping the outstanding characteristics of Chinese civilization and is an important carrier of Beijing's history and culture.

A gate, a city, continuing the Chinese context and telling a century-old history. Following the novel, drama, and TV series "Four Generations Under One Roof", the 2001 hit domestic period drama "Mansion Gate" showed the changes in family destiny in the tide of the times. Since then, there have been dramas such as "Crossing the Guandong" and "The Little Girl under the Zhengyang Gate", inheriting the realist tradition of family and country narratives. In "The Towering Zhengyang", the ancient Zhengyang Gate has withstood continuous artillery fire from the Eight-Power Allied Forces, singing the victory song of the People's Liberation Army entering the city, welcoming the Beijing Olympics with its "big footprints" flying over the city tower, and playing a salute marking the centenary of the founding of the Party. Zhengyangmen embodies the indomitable spirit of the Chinese nation, witnesses the bravery and courage of the Chinese people, engraves the vicissitudes of history, and overlooks the rise and glory of the great Eastern countries.

In the play, Zhengyang Gate is the scene symbol and spatial stage of the narrative, which determines the characteristics of the scene scheduling. It is a metaphor for rise and fall, prosperity and decline, or the way of daily use. Dance drama embodies political space, cultural space, psychological space, emotional space and other abstract spaces in concrete spaces such as architectural space and sculpture space. Ancient architectural spaces and historical and cultural subjects shape each other. The isomorphic national cultural identity of home and country creates a legal bond through classical space, and draws concentric circles through architecture, celebrations, music, clothing, etc., to generate a continuous narrative of a historical and civilized community. China’s excellent traditional culture has become the source of living water for modern Chinese people to build their identity and cultural confidence.

The style of the blooming youth of the times

Stills of the dance drama "The Towering Zhengyang"

The play has a strong lineup, bringing together Peng Yibo, Zeng Ming, Zhu Wangbo, Guo Ge, Su Hailu, Wang Silong, etc.Beijing Dance Academy Youth Dance Company, Education College, Chinese Classical Dance actor. The work has a high "dance content", and a large number of dance segments incorporate various dance elements such as Chinese classical dance, Chinese folk dance and modern dance. The dancers performed rhythms and styles of different eras, inspiring the audience's enthusiasm and tears.

Based on the previous three on-campus previews, the play has continuously absorbed suggestions from experts, scholars and audiences, and carefully polished the script, stage design, music, etc. The theme song "Watch" sung by Ayunga , a graduate of the college's musical theater major, is touching and touching. The architecture, customs, etiquette, and costumes in the play are well researched, and the stage settings and props such as paper kites, pigeon whistles, and bird's nests are unique to Beijing. , instantly brings the audience into a Beijing city where historical charm and modern flavor are intertwined. The spring wave of red palace costumes, Republic of China costumes, big waves and retro disco, bachelor's uniforms and military uniforms have distinctive national characteristics; at the same time, the music creation effectively evokes the audience's memory, arouses resonance, and quickly brings the audience back to "that time" and "that moment". Each era can be an independent drama and form a coherent historical narrative. The audience can also understand history from the series of background introductions that connect each act.

The play embodies the results of research, creation and practice in multiple disciplines such as BD’s choreography, performance, stage design, and costumes. The freshmen of the class of 2023 demonstrated their solid skills and vigorous youth with group dances such as working and starting a business. The creation and arrangement of this key dance drama project of the college is the result of combining learning and performance, using performance to promote learning, and an innovative talent training model. It is supported by the National Arts Fund and the Beijing Federation of Literary and Art Circles Special Fund for Supporting Literary and Art Creation.

continue the red blood and build a better future together. Currently, the show is still being further polished and improved.In the author's opinion, from "grandfather" to "son", the narrative context of the five-generation family may be enriched. For example, in "Little Women from the Zhengyang Gate", the tavern owner Xu Huizhen, played by Jiang Wenli, tells the story of entrepreneurship from a female perspective and shows the changes in New China over the past few decades, which is very exciting and interesting. There are also connections between the scenes of the play. Relying solely on text descriptions will inevitably feel a bit mechanical and monotonous, etc. These need to be further explored and tried by the director.

(The author is the director of the Research Department of the Literary Criticism Center of the China Federation of Literary and Art Circles)

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