Twelve tragedies of Lear, the Don River flows for eight hours quietly | Top Ten Dramas in 2019

Twelve tragedies of Lear, the Don River flows for eight hours quietly | Top Ten Dramas in 2019
On the stage of 2019, there are many works that boldly deconstruct classic works. Their style is more personal, more pioneering and more powerful than previous years.In the Chinese-language works, we can see that the re-arranged works such as “De Ling and Ci Xi” regain their artistic vitality. Yi Liming used his method to make “Waiting Godot” no longer understand.”Evgeny Onegin” is undoubtedly the highest standard introduced in the repertoire.★ The data of the annual popular drama “Niu Tianci” of Sauna Night’s most artistic performance list comes from Sauna Night’s App. Voting is sorted by performance time.Theatre writer: David Lesgao Director: David Lesgao Starring: Jiang Wenli, Dai Jun, Jiang Yingrong, Wang Weiqian and other Guo Xiangchen “Ponzi scheme” is a challenging work in the Chinese drama market in 2019.It challenges the width of the form and finds a new expression between music and drama; it challenges the depth of space. The whole drama uses only tables to build cruise ships, docks, prisons, offices and other scenes on the stage.; It challenges the span of time, using two hours to describe a person ‘s life and intergenerational influence; it challenges the height of performance, Jiang Wenli successfully reversed the life of a male character from teenager to old age; it challenges scene scheduling, eightThe actors performed nearly a hundred roles, and the entire script created a erratic, secretly surging social group portrait, which deeply criticized and reflected on human greed.”Ponzi scheme” left new thinking and new expressions on how to integrate with the world in modern Chinese drama.-Qi Yingbo (Vice Dean of the Institute of Media and Public Affairs, Communication University of China) Yevgeny Onegin, Vakhtangov Theater, Russia Time: May 16-19, 2019 Location: Flyover ArtThe center’s original work: Pushkin Director: Limas Tuminas Performance: Russian Vakhtangov Theater Tasu Photo Lithuanian director Limas Tuminas rehearsed “Yavge” at the Russian Vakhtangov TheaterNi Onegin appeared at the Wuzhen Theatre Festival in 2018 and premiered in Beijing in 2019.This is an unexpected masterpiece full of poetry, which reveals the connotation of Russian spiritual life extremely profoundly.Taguiana became the real core character in the play, her soul world was pure and noble.The director played Onegin through two actors, played the complexity of this male character, and also hinted at the fragmentation of Onegin ‘s spiritual world: transformation, he was tired of the empty life of the upper class society, resulting in the sincerity remaining in his heartFeelings, full of regret and introspection for his absurd life.The huge mirror behind the stage also reflects the division of Russian life: on one side is the simplicity and tranquility of rural life, on the other side is the rough darkness.Tuminas was extremely genius to present Pushkin’s poems on the stage. The beautiful verses of Pushkin, as if they were just written yesterday, became the most natural words in the actor’s heart and became a music-like monologue.Tuminas’s “Onegin” is an anthem to “the beauty of human nature”: both melancholy and cold, but also full of poetic passion; light and beautiful, and heavy and deep; both ironic and grotesque, but also inherently tragic.-Peng Tao (Director of the Department of Dramatic Literature at the Central Academy of Drama, Professor, and Director of the China Chapter of the International Theatre Critics Association) Yi Liming “Waiting for Godot” Time: May 17-19, 2019 Venue: Intermediate Theatre Screenplay: CypriotDirector Muir Beckett: Yi Liming Starring: Huang Kai, Zhang Yiman, Huang Chengcheng and other Ruan Xidong filmed Beckett’s play, director Yi Liming, he and the team’s new translation, the new cicada drama and the middle theater co-produced “Waiting””Gordo” is a theater creation that bids farewell to Chinese actors’ incomprehension and deflated symbolizing the history of performance.The translation restores the “elegant” ridicule, and the schizophrenia of the dancing beauty is powerful: the cemetery, the crooked cross, the broken mirror, and the human situation that directly reflects the metaphor of the play-Hamlet ‘s proposition extends to Godot-“God is dead”As human reason is broken, it is no longer possible to fully self-understand and understand the world.”Waiting for Godot” is an inexhaustible play. The characters almost every line, at least every monologue, needs the index of the Bible and various modern Western philosophy.For Chinese people, understanding is especially difficult.The team of Yi Liming studied the script and related translations for ten months, devoting themselves to the “clearance of meaning” before the performance, and determined the meaning of the stage by the Chinese life-historical experience. Some localized “now hanging””Enhance the audience’s understanding.This is a very creative work, and it also makes this edition a decisive step towards the spiritual hinterland of “Waiting Godot”.-Li Jing (screenwriter, reviewer) “Drums in the Night” at the Munich Theater, Germany Time: July 13-14, 2019 Venue: Tianqiao Art Center Screenwriter: Berto Brecht Director: Christopher LupinPerformance: When the “The Drums of the Night” was written by the Goethe-Institut in Beijing at the Munich Indoor Theater, Brecht’s worldview was not yet mature, and he was still a radical individualist, but he put the German bourgeois and his political agents after World War I.Mercenary and conservative reactionary portrays the score.The Chinese version of “Drums in the Midnight” at the 2019 Berlin Theatre Festival echoed the premiere of the play a hundred years ago, while thoroughly implementing Brecht’s concept of defamiliarizing theater, and transforming the history of Brecht’s original works through a separate approachChange.This version of the performance is most commendable in that it uses a way of document restoration to put this complex and contradictory text back into a specific historical context, and also fully demonstrates the breakthroughs and breakthroughs of Brecht’s early ideas.Compared with Brecht’s uncertain and mature proportion of the original work, this version of the aesthetic concept is more radical and the theme is more profound.This is a post-Cold War era “Drumming in the Midnight”. The creators seem to want to replace the revisiting of historical texts in response to intricate real-world problems.This dynamic activist thinking makes me appreciate it.-Zhao Zhiyong (Professor of the Central Academy of Drama) “Father and Son”, Gesell Theater, Israel Time: July 18-20, 2019 Location: Capital Theatre Original: Ivan Turgenev Director: YehezkerLazarov performance: Israel ‘s Gesell Theater, Beijing Art for the picture The Israeli Gesher Theater, familiar to Beijing audiences, brought a version of “Father and Son” that is not very “Gaisher”, covering all classic Soviet literatureThe familiar setting of the stage adaptation of the work is refreshing.We have seen the strong and pure environmental colors, the simple and diverse prop settings, the strong and proper body scheduling and multimedia adaptation. These modern and even futuristic stage vocabulary wrote the father of Turgenev 170 years ago.The attachment and conflict between the two eras and the two trends of thought represented by Yu Zi are presented on the stage of the 21st century after deconstruction, without any sense of disobedience.The most outstanding thing is that the “dislocation” that occurs when the actors ‘real-time body capture is combined with the large-screen projection picture seems to stubbornly express the unnecessary and funny that the new and old must inevitably face in any era. It is associated with the tragedy of the protagonist Bazarov., Amazing Jun couldn’t help but sigh in the heart.-Shang Xiaolei (theatre translator, reviewer) “The Quiet Don River”, Masterskaya Theatre, St. Petersburg, Russia Time: August 23, 25, 2019 Location: Tianqiao Theater Original: Mikhail SholoDirector Hof: Grigori Kozlov Performance: 8-hour epic “The Quiet Don” by the organizer of the Mestskaya Theatre in St. Petersburg, Russia is like a Russian neo-realist scroll, slowly to the audienceDemonstrate the positive optimism of the Russian nation, the tenacious and tenacious vitality, and the dramatic tension.It is worth mentioning that the first is a simple stage set installation. After the time and space flow of the plot, the stage also changes, creating a rich stage vocabulary and character vocabulary with simple dance, focusing on the emotional life of characters and characters.It is basically the performance of the actor. In the separation of life and death, such a young actor conveys such a heavy emotion, passionate dance, full role, and sincere life in the complex entanglement, which is what the audience expects.If we missed “Brothers and Sisters”, then we must not miss the “Silent Don”, because each of us will eventually be gathered in the torrent of history, and we will look at ourselves in history.-Zhang Shu (Director of Drama in France) ★ Sauna Night Net’s Best Chinese Drama “Deling and Cixi” 2019 Version Time: September 11-15, 2019 Venue: Beijing Poly Theater Screenplay: He Jiping Director: Situ HuiZhuo starring: Lu Yan, Jiang Shan, Pu Cunxin, Huang Huici, Zheng Yunlong, Wang Keda, who can hardly escape the “conclusion” of writing history.Several of Li Hanxiang ‘s films with Cixi ‘s main character put her as a “generational demon queen”, and even the aging stacks from the West into the Qing Palace in Yingtai Weeping Blood gave her some humanity, but she was rightThe persecution of Guangxu still made the audience “step by step startled”, failing to rewrite the color of her judgment.But He Jiping’s script “De Ling and Ci Xi”, in addition to giving Ci Xi the strength to hold in her hand, let her open her arms and try to embrace family, friendship and love like an ordinary woman.The crowd of people around her also threw away the symbolized labels and bleeds.The script uses a combination of truth and reality to look at history and connect human nature. Therefore, it is no wonder that the family and state affairs are mutually measuring scales. It is no wonder that they are put on the stage. Whether they are performed in Cantonese or Mandarin, or in the drama or Peking opera version, they are widely praised.In the latest drama version of the Beijing-Tianjin-Hong Kong cooperation, the text shines brighter than ever. Directors, dancers, actors, etc., work together to create the appearance and core of a high-quality Chinese-language drama, and serve as a demonstration.-Mei Sheng (Critic) The Polish Sheep Opera Troupe “Song of Lear” Time: October 19th-20th, 2019 Venue: Tianqiao Art Center Screenwriter: William Shakespeare Director: Giorges Blar Performance:Polish Sheep Opera Troupe Tasu She Lao She Theatre Festival, Polish Sheep Opera Troupe “Song of Lear”, extracts the tragedy factors of Lear and Cordelia in the Shakespearean text and re-hook it into a UFOLong poetry of music in the English wilderness.Divide the story of “Lear King” into twelve fragments, sobbing, grief, stumble, wailing, wildness, the role is shaped by music rather than actors, the existence of the role is also the originator of expressing emotions, andBetween the target undertaken by the interpreter, underground between the stage and the audience.Melody, harmony, rhythm, color (timbre) are more important, and usually the body and lines are only shown when necessary.The charm of music flutters in the theater, inspiring fascinating emotional interaction.-程辉(戏剧评论人,策划人)孟京辉《茶馆》时间:2019年11月8日-13日地点:北京保利剧院原作:老舍导演:孟京辉主演:陈明昊,李建鹏,孙雨澄,齐溪等孙竞尧 摄The most remarkable thing about Meng Jinghui ‘s “Tea House” is that it rediscovered the “person” in the script. Wang Lifa in “Tea House” has never been like this. It has a history, a soul unfolded, and the fate of the author Lao She itself.Implicit association.The performances of the actors are also outstanding, especially Chen Minghao’s Wang Lifa. He completed a world-class performance with free passion and philosophical improvisation.The play’s structure, techniques, use of images, etc. are indeed filled with a strong German atmosphere, but its aesthetic expression is downright Meng Jinghui style.Many people who are new to drama may feel uncomfortable, feel obscure, and even feel a physical shock. I think it is entirely because of many of our previous dramas, which are rarely thought so deep and expressed this way.self.But just think about it and you will understand that this may be the charm of the Meng version of “Tea House”.-Zhang Chang (literary critic) Fang Xu’s “Niu Tianci” Time: December 25-29, 2019 Location: Tianqiao Art Center Screenplay: Fang Xu, Chen Qing, Cui Lei Director: Fang Xu Starring: Guo Qilin, Yan HexiangIt is not a good thing for Zhang Ruishe to change a novel with many characters into a drama. It is especially difficult to make a clear history of a person ‘s growth from swaddling to youth. The drama “Niu Tianci” starts with a literary style and begins with a narrative of Mendun.God-given eyes unfolded the scene, retaining the humorous style of the original novel, forming a reflection of tears in laughter.In essence, the play’s main character, Tianzi, is a little baby who grows up and is a doll involved in the clues of fate. Therefore, the show uses a lot of dolls in one, which is also an innovation and a symbol.The stage technique of meaning, that is, the performance of the doll with the body controlled by the actor, the two sides of the doll and the human being are united to form a new dramatic tension.This play has portrayed a true and connotative person. Niu Tianci may not be tall and powerful, and there are many worldly dusts on his body. His tenacious, naughty childhood, and his illusion of the girl at the beginning of his love are all reflected in the growth periodTrue psychology.He is also like a mirror, reflecting some characteristics of the old Beijingers and Beijing-flavored culture.-Song Baozhen (director of the Institute of Drama Studies of the Chinese Academy of Art) sauna, editor of the night net Liu Zhen Tian Yani proofreading Zhai Yongjun