Kunqu opera movie "Dream of the Red Chamber"
The Kunqu opera film Dream of the Red Chamber had its own unique features, but there were also many problems. On the positive side, the film was a process of cross-media mixing, conversion, translation and transformation between film and Kunqu opera. It was much better than the stage version in terms of visuality, delicate psychological performance, and flexible scene dispatch. It expanded and deepened the space and expression of Kunqu opera, presenting the aesthetic effect of cross-media overlap. However, there were also many problems with the film: 1. * * The relationship between the main and auxiliary and the proportion of integration **: The performance is more inclined to stage performance, whether it is the character's actions or the tone. A large number of stage singing and performances occupied a large proportion, compressing the space for the visual and audio elements to be displayed and weakening the expressiveness of the film elements. The actor's costume had a tendency to be on stage, which created a distance under the close observation of the movie camera, which conflicted with the characteristics of the movie's life. 2. * * The contradiction between reality and illusion **: The Kun opera performance was stylized and virtual, closely connected to the ethereal stage space, but in the realistic movie space, this virtual and exaggerated action seemed to be out of place. Despite mediation, there were still contradictions between the performance movements of Kunqu actors and the real space, performance, and delicate shots of the movie. For example, there was a conflict between the virtual chess moves and the physical chess pieces in the scene of Baoyu and Daiyu playing chess. 3. * * The contradiction between the stage and the movie: Kun opera music and performance movements are integrated into one, but the relationship between sound and painting in movies is more complicated. Kunqu opera music and movie scenes were easy to repeat, limiting the space for artistic expression. For example, the sound of the stage gongs and drums in the "West Chamber Reading Together" scene was alienated from the realistic scene of the movie. Moreover, Kunqu opera music had a slow rhythm and did not change much. It was very different from the rhythm of the movie, which easily led to a slow narrative rhythm and hindered the appeal of the movie. 4. * * Imbalanced relationship between sight and hearing **: Kunqu opera is more auditory, while the film is more visual. Although the visual quality of this film is better than the Kunqu opera version, the large amount of Kunqu singing in the film leads to auditory bias. The synchronization of singing and acting in the movie was shown as redundant repetition in the movie. The singing and acting of Kunqu opera occupied too much of the screen, reducing the visual potential of the movie. From the perspective of the spread of the film, the Kunqu opera film "Dream of the Red Chamber" had won numerous awards in the West and received many positive reviews. This was because the Western audience's expectations were on Kunqu opera and "Dream of the Red Chamber." However, in China, the film received a cold reception and suffered zero screenings. The reason was that the main factor of the film was Kunqu opera rather than the film. The audience went to the cinema to experience a prominent audio and visual experience, and the film's own film elements and expressiveness were not fully developed. Read more exciting novels for free
Yue opera Dream of the Red Chamber
The Shaoxing opera " Dream of the Red Chamber " was a classic traditional China opera. It was starred by Xu Yulan and Wang Wenjuan, and it portrayed the love story of Jia Baoyu and Lin Daiyu. This play enjoyed a high reputation among the audience and was considered one of the peaks of stage art. It had a strong appeal and could resonate with the audience, making them laugh or cry along with the emotional ups and downs of the character. The script of the Shaoxing opera 'Dream of the Red Chamber' had been carefully scripted to accurately and vividly present the wonderful story and characters of the original novel. Although some changes were made to the script, such as selecting the plot, changing the order, and ignoring the decline of the Jia family, it was still considered a play suitable for ordinary audiences. However, for those who were familiar with Dream of the Red Chamber, they might be disappointed by some of the inadequacies in the script. In general, the Yue opera 'Dream of the Red Chamber' was a classic and wonderful drama work, which was of great significance to the China opera culture.
Henan opera, Dream of the Red Chamber
At the end of the Henan opera "Dream of the Red Chamber", the decline of the Jia family could not be saved. Lin Daiyu left the Grand View Garden due to the decline of the family and eventually died outside. At the end of the story, Jia Baoyu vowed in front of Lin Daiyu's grave to work hard for the revival of the family. The whole story was full of sadness and helplessness, showing the tragedy of the decline of the family and the helplessness of love. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Chaoshan opera, Dream of the Red Chamber
Chaozhou drama " Dream of the Red Chamber ", the main actors were Liu Xiaoli, Lin Foreign Trade, Hu Juan, Zhan Chunxiang, Wang Wenxian, Lin Xiaodan, and Chen Chuqing. The duration was 2 hours, 20 minutes, and 28 seconds. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
He Saifei acted in the Yue opera movie Dream of the Red Chamber
Yes, He Saifei had once played the role of Miao Yu in the Shaoxing opera movie Dream of the Red Chamber.
Actor Ren Jie from the opera and movie Dream of the Red Chamber
Ren Jie played Jia Baoyu in the 1962 Hong Kong Shao family Huangmei Diao film Dream of the Red Chamber. However, Ren Jie's cross-dressing was not very accepted by the audience. This version of the film was far less popular than "Liang Zhu." Later, Ren Jie played Zhu Ying in "Liang Zhu." <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Shaoxing opera, 1987, the stage of the dream of the red chamber
The stage of the 1987 Dream of the Red Chamber is an art form of modern Chinese drama and one of the four major Chinese operas. It originated from Shaoxing City, Zhejiang Province, and used Dream of the Red Chamber as the background to tell the love story of Jia Baoyu, Lin Daiyu and others. In 1987, Yue opera was reformed and developed on the basis of Dream of the Red Chamber. The stage art, music, performance and other aspects were all innovative and improved, making the play more mature and diverse. In that year, the Yue opera 'Dream of the Red Chamber' was a huge success and became a classic in the history of Chinese drama. The main features of this stage performance were the deep plot, sincere emotions, exquisite performance, and exquisite stage design and music coordination. The performance style was known for its exquisiteness, euphemism, and elegance, especially in the performance of Yuan Xuefen, who played Lin Daiyu. The stage of "Dream of the Red Chamber" in 1987 was one of the important masterpieces of modern Chinese drama. It had a profound impact on the development of Chinese movies and dramas, and also provided valuable experience and reference for the world's drama art.
Classic of Shaoxing opera, the bridal chamber of the dream of the red chamber
In the Shaoxing opera 'Dream of the Red Chamber', there was a song that went like this: ' Sister Lin, my good sister, today is the first thing that has satisfied me since ancient times. Sister Lin, my sister, I couldn't stop smiling as I received the good news. I looked forward to it several times with my fingers. Finally, the peach trees in the east garden and the willows in the west garden have moved to the same place today. I have to marry Sister Lin in this life. My heart is like a flower blooming. I have been sick and worried in the past, but I will have endless happiness in the future. From now on, I'll pick flowers and wear them with you early in spring, guess riddles with lanterns in cold nights, add fragrance and stand side by side to watch calligraphy and painting, and step on the moon with the shadow stepping on the green moss. From now on, the room will be filled with sweet words, like a knife cutting off water, inseparable. This is really the Milky Way, although wide, there will always be a crossing, the cowherd and the Weaver girl will meet on the seventh day of the seventh lunar month." This passage showed Jia Baoyu's joy at marrying Lin Daiyu and his longing for a better life in the future. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The movie Dream of the Red Chamber
" Dream of the Red Chamber: A Golden Match " was a movie directed by Hu Mei and filmed in 2018. The film was adapted from the classic Chinese novel, Dream of the Red Chamber, and it told the story of the joys and sorrows between Jia Baoyu and Lin Daiyu. In addition, there were other versions of the movie and TV series that adapted 'Dream of the Red Chamber', such as the Hong Kong Shao family's film' Dream of the Red Chamber 'in 1962 and the series directed by Xie Tieli in 1989. In recent years, the movie " Dream of the Red Chamber: A Golden and Jade Match " had a poster feature that recreated the grand scene of the Grand View Garden. In order to create the best Oriental Red Mansion culture, the production team invested a lot of energy in the construction and setting work. The movie would be released nationwide in 2024.
Li Qin performed Kunqu opera in red
Li Qin studied Kunqu opera when she was young and was evaluated as one of the inheritors of Kunqu Academy. She had a unique temperament and talent in Kunqu opera. However, as she entered the entertainment industry, her focus turned to film and television performances. Although Li Qin had made some achievements in Kunqu opera, she was currently active in the entertainment industry as an actress, not as a Kunqu opera performer. Therefore, there was no specific information about whether Li Qin was still performing Kunqu in Red Shirt.
Kunqu opera and Beijing opera
The Qingyi in Kunqu and Peking operas belonged to the Dan Xing, and they had an important position in their respective operas. ** 1. Kunqu Qingyi ** 1. ** Acting Style ** - The performance of Kunqu opera was restrained, tactful and delicate. Kunqu Qingyi needed to adjust her breath reasonably when performing, because Kunqu singing did not "pass the door", and it was a test of strength to sing while doing the body. 2. [Character Creation] - For example, when Fang Tingyu played Cui Yingying, she showed her oriental aesthetics by turning her head and raising her eyes. Kunqu Qingyi emphasized on traditional China aesthetics when creating characters. 3. ** Inheritance and Development ** - There were examples of Peking opera actors like Lian Wenqing learning from Kunqu opera. Lian Wenqing had studied Kunqu's "Peony Pavilion" for a year and a half from Liang Guyin, an 80-year-old Kunqu artist. This showed that the performing arts of Kunqu Qingyi were worth learning from Peking opera actors. At the same time, it also reflected that the exchange and integration of opera arts would help the inheritance and development of Kunqu Qingyi performing arts. ** 2. Beijing opera, Tsing Yi ** 1. ** Acting Style ** - Peking opera performances were more external. The movements of Qing Yi in Beijing opera were relatively small, but her movements were more stable. She was usually dignified, calm, and beautiful. The recitation of the poem is generally called "rhyme", and the main focus is on singing. 2. [Character Creation] - The role played by Qing Yi in Beijing opera was usually a dignified and quiet married young woman. When performing tragic characters and people at the bottom of society, their costumes were often black (black was called "Qing" in ancient times, which was also one of the origins of the name Qing Yi). For example, Zhang Huoding played the role of Concubine Yu. As an actress of the Cheng School, she found a unique Cheng School performance style for the role of Concubine Yu when she performed Farewell My Concubine. From the singing to the performance movements, she carefully designed them, reflecting the uniqueness of the role creation of the Qing Yi in Beijing opera. 3. ** Inheritance and Development ** - In the course of development, it had undergone many reforms. In the 1920s, Wang Yaoqing and Mei Lanfang reformed the Qingyi industry, integrating the skills of Hua Dan and Dao Ma Dan into Qingyi performances. In the 1950s, Zhang Junqiu integrated the characteristics of the four famous actresses, making the Peking opera Qingyi continue to develop. According to the genre, the Qingyi of Beijing opera can be divided into the Qingyi of the Plum Sect and the Qingyi of the Zhang Sect. The singing of the Plum Sect is simple and fresh, with a combination of hardness and softness, with the beauty of natural harmony; the singing of the Zhang Sect is vigorous and euphemistic, beautiful and fresh. The development of different schools had enriched the performing arts of the Beijing opera. The novel "The Legend of Dian Kingdom in Clouds as Deep as the Sea" is equally exciting. Everyone is welcome to click and read it!