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-Interpretation of Peking Opera flying tigers

(1) A Festival, A Play

At first, I turned a cold face at the so-called "Peking Opera Festival", which was nothing more than a few faint achievements projects that spent a lot of money and won big prizes, wearing new historical dramas and modern dramas, adapting the colorful coats of traditional dramas, and annoying people with the greasy lights of gorgeous scenery. It's been nearly twenty years, and this year it's the fifth time in Jinan. The more it is done, the more empty it is, the more bluffing it is, and the more thankless it is.

From the appearance of Jin Deyu, a Peking Opera of Shanxi merchants after the opening ceremony, I was completely desperate for this Peking Opera Festival. Yu Kuizhi is old, Li Shengsu is old, and Liu Guijuan has lost its charm. After watching the live broadcast at the beginning, hurry away sadly. Jin Deyu's face is green and tired, and it can't even compare with Walking to the West, but Walking to the West is at best a deranged Peking Opera ... except that Li Shengsu, dressed as a pretty daughter, dances the unique fortitude and femininity of women in the desert. The rest of the scene is like a soup.

Even a fool can easily see how naive the plot is: How can Zhong Xueer, whose childhood family went bankrupt, be so angry and proficient in Russian? Yu Yuqiao, who learned of the tragic news of the death of Dun Zi, saw Tian Mei's first sentence, not to comfort her, but to ask for money. Is this the demeanor of Shanxi businessmen?

I didn't want to get in touch with the "Beijing Opera Festival" now, but because of the power failure in the classroom, I had to sit in front of the computer and watch the live broadcast of Central 11.

flying tigers by Shandong Peking Opera Theatre (hereinafter referred to as "provincial capital"). Go to the opera friends have long talked about a poor modern drama.

I was touched when I looked at it. If I were at the scene, I would definitely shed tears. It suddenly dawned on me that behind the notorious "Beijing Opera Festival" in the hearts of Beijing opera fans, there are still several creators who are willing to be lonely and have not lost their artistic nature. Even if there is a little room, they must stubbornly bloom a few touching lights.

I can feel it when you reach out quietly.

When a brilliant art becomes the plaything of leaders, artists who have lost their spiritual sustenance will either cut off the pulse of life bravely, or quietly pass on the fire with humiliation, waiting for the generate miracle.

Although generate, the miracle, was not very successful, the interpretation of some scenes was somewhat shabby and funny. However, people are aware that there is a force struggling, showing an attempt to look forward to a beautiful bloom.

I've also heard that there are still good plays to see in Beijing Opera, such as Ni Maocai's "Sun An Moving Ben" and Beijing Peking Opera Theatre's "Xialu City". In fact, the value of the Beijing Opera Festival has long been lost in two contradictory thoughts: the satisfaction of citizens' carnival stimulated by mass media and the disgust of Beijing opera fans who have hated "big production" for more than ten years.

After the fierce tide of conflict swept through, I suddenly woke up like a dream and pulled out. Yes, it's time to stand at the highest point and watch the Beijing Opera Festival calmly and independently.

Then let's comment (or criticize) the provincial flying tigers.

(2) Shandong sister-in-law, Shandong man

Let's put aside whether the actors' means of stage performance are successful for the time being. As far as the development of the main theme and rhyme of the play is concerned, flying tigers has completed the interpretation of lofty and magnificent human nature. Of course, this sublimity is not Shakespeare's passion sublimity, nor Guo Moruo's romantic magnificence, but a sublimation portrayal of the folk customs spread in Shandong for thousands of years in artistic creation. Specifically, there is the precipitation of Qilu's personality with straightforward enthusiasm and bravery, and the complex and violent agitation of Confucian etiquette, Confucius and Mencius, with the external environment and personal free will in people's hearts.

For literary works, film and television works and other forms of artistic expression, the theme of sublimity and magnificence has been a long-standing cliche. People focus more on a new way of artistic creation, that is, a good work "lies not in what to write, but in how to write". However, the traditional Chinese opera, whose cultural transformation is slower than other arts, is far from fully reaching the point where the theme is rich and broad and the film and television are out of touch. What's more, since the birth of traditional Chinese opera, its "drama" weight has always been covered by "qu", and the simplification of the plot of the reform structure has laid the poetic style of China's traditional opera, on the other hand, it has formed many fixed theme templates such as talented people, beautiful women, emperors and generals. In the middle and early last century, the brilliance of Beijing opera was based on the perfect stage performance of artists with different styles and schools.