A new interpretation beyond tradition, love under tragedy. On August 23, "The Orphan of Zhao" was once again performed on the stage of the People's Art Theater of the Beijing International Drama Center. This work has left many "differences" in the audience since its debut last year. When it returns this year, it will once again take the audience through two thousand years of history in a small theater to experience the grand theme; enter the theater space and experience the power of love. The performance will last until September 15th.
"The Orphan of Zhao" poster
"The Orphan of Zhao", as a traditional Chinese story, is not only well-known in China, but also has a profound impact around the world. Such a story was put on the stage of Beijing People's Art Theatre, not only to tell the audience a historical legend, but also to convey an understanding of drama. In 2003, director Lin Zhaohua put this play on stage for the first time at the Capital Theater. The twist was that Cheng Ying gave up revenge, which became a stunning highlight. Twenty years later, He Bing, who once played Cheng Ying, took on the role of director and re-explored the core of the story - using "love" as the theme to complete the narrative, allowing the audience to see innovations beyond tradition.
This play is a play that was successfully "incubated" from the Beijing People's Art 2022 Young Actors' Art Assessment. Not long ago, in the live broadcast of the 72nd anniversary of the Beijing People's Art, several creative clips performed by young actors in the assessment were shown , and also received a lot of praise from the barrage. It can be said that the elements that constitute the success of this drama are more the creativity and vitality of youth. "I think that human society has reached this day and is supported by love." Director He Bing explained, "The opposite of hatred is love. Everyone can choose what human nature is, so what we choose and believe in is In the beginning, human beings are inherently good. This is the understanding that this version of "The Orphan of Zhao" hopes to convey to the audience. "
Performance stills Jin Han plays Cheng Ying (photographed by Li Chunguang)
Performance stills Zhou Shuai (left) plays Tu An. Jia
""The Orphan of Zhao" was previously a costume drama. During the 2022 annual assessment, Jin Han played Cheng Ying and Zhou Shuai played Tu Anjia. They both performed in black suits. I felt at the time that if When this play is presented on the stage again, will it go back to the long robes and long sleeves worn by the ancients? "In response to the modernity of the new layout, He Bing told The Paper that the rearrangement of this play was also based on a performance training," It's great when actors can be 'free' in public on stage. This is actually very difficult. If you still wear ancient costumes, the performance will naturally go in one direction, and I think this 'direction' will affect the actors' actions on stage. The state of sitting, lying and walking. Using modern costumes, actors will be more free and more self-conscious on stage. We also received a lot of feedback from the audience in the last performance. I personally think this method can be continued. When an audience walks into a theater to watch a play, what they want in the final analysis is the core expression of the play, as well as the resonance and collision between the characters' fate and their own hearts. Actors wearing modern clothes may challenge the acceptance habits of some old audiences. Hey, how can they dress in Western clothes? "Tie"? But this kind of "unpleasant" may make the audience think more." He Bing said.
"The meaning of performing on stage is like an athlete playing a game." He Bing believes that only through constant stage practice can all drama concepts become clearer and the interpretation of characters and plots richer. In this second round of performances, the young actors have once again tempered themselves. "Be serious, sincere, and work hard on the stage" is the creative attitude that the crew adheres to. Cheng Ying, played by Jin Han, used "driven by love" to interpret complex character conflicts; Tu Anjia, played by Zhou Shuai, broke the coldness of the villain with emotion and warmth. Each of the many characters who appear one after another has rich psychological activities and behavioral motivations. The interaction between them is like the rotation of gears, tightly meshing together to promote the development of the plot.
Performance stills
In addition to modern costumes, metal stage devices, bridge-shaped high platforms, LED background screens... On a stage full of modern elements, "The Orphan of Zhao" breaks through the limitations of small theaters and is constructed with stage imagination A free dramatic space was created. The music and live singing throughout it not only represent the voices of the characters in the play, but also have a dialogue with the current audience. These artistic treatments complement the narrative method of the work. Allow the audience to freely switch between immersion and jumping out. The seemingly fragmented narrative method of the whole play makes the work more plot-like. The fast rhythm, dense lines, and interlocking plots. Such "high energy throughout the show" ignited the enthusiasm of the audience.
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