He said that the more he was scolded, the more firm he was right | Beijing Daily x National Theater Daily Sign

He said that the more he was scolded, the more firm he was right | Beijing Daily x National Theater Daily Sign
There is a drama director who claims to have nothing to do with the drama circle, but every time his work comes out, he gets a lot of attention; this director has directed many classic works, such as the Sichuan version of “Tea House”, Pu Cunxin and Hu Jun’s new version.Hamlet, a drama of the same name adapted from the movie “Spring in a Small Town” . but he said, “The drama is not sick, and the people who make it are sick.”He is Li Liuyi.”In the beginning of 2020, his second brand new work “February” with a film prototype will be staged at the National Grand Theater from January 15th to 22nd. This is always called “pioneer” but thinks it is “traditional”The director ‘s life story may be read before watching the play.The new work “February” and “February” was newly produced by the National Grand Theater, directed by Li Liuyi, starred in Wang Wei, Lu Fang, etc., based on the novel of the same name by the late writer and revolutionary martyr Rou Shi, and the film “Early Spring February” based on the novel”” (Directed by Xie Tieli) has also become a classic masterpiece in the history of Chinese film.The drama “February” reproduces the town of Furong written by Mr. Rou Shi in front of the audience. It shows the style of the left-wing literati through the life experience of the generation of intellectual Xiao Jianqiu and the sense of the times, and also reflects the time through the “Xanadu” of Furong Town.Social phenomenon.To highlight the style of the literati drama faithfully in the original, director Li Liuyi delved into the literary works and ideological trends of the May 4th period. While constantly revising the design of the dance beauty, he also put forward high standards and strict requirements for the actors ‘performances, striving for a simple and profound stage.Presentation, highlighting the essence of actors’ performance.The drama also specially invited the composer Chen Qigang as music director.Rehearsal photos of the drama “February”.Picture / Director of the National Grand Theater After graduating from the Department of Chinese Drama Director, Li Liuyi, who was ready to go abroad to study, decided to stay in China to continue his directorial career. At that time, he felt that if he is a director in China, he must first be proficientAfter giving up on Chinese opera art, Li Liuyi went directly to the Chinese Academy of Art’s Opera Research Institute for 8 years of opera research.  One day in 1994, director Lin Zhaohua found Li Liuyi and said, “You should come to the arts.””He answered” Is it?”In a word, in less than a minute, Li Liuyi reported to Beijing Renyi in a week,” and being able to be in Beijing Renyi for so many years was entirely recommended by the Dadao.Director Lin Zhaohua likes opera, which is related to the tradition of art.He knows my background in learning opera, so he thinks it is very reasonable for me to come to Beijing for art.”The first year of coming to Beijing Arts and Crafts coincided with the” commemoration of the 50th anniversary of the victory of the Anti-Japanese War. “Li Liuyi directed his first drama in the theater, a work describing the Soviet Union during the Second World War,” Military Train. “  But since then, Li Liuyi has set up his own drama studio, and has directed China ‘s first English drama “Zhuang Zhou’s Wife”, absurd drama “Yu Guotianqing” and other works. During this period, Li Liuyi was gradually posted as a pioneerThe label of the director, “Others always say that Li Liuyi is a pioneer, but I am very traditional.A lot of my creative thinking comes from Chinese opera, books and even Jinshi seal carvings. I have not interrupted my research in the art of opera.In 2000, Li Liuyi was infamous for a long time because he directed the experimental drama “The Wilderness.” Li Liuyi, who was in a period of prosperity, had only five full years of performance in the arts.Since then, he has frequently gone abroad and made his appearance at major art festivals. “In fact, I recalled those so-called criticisms, accusations and even verbal abuse. For me, the more I was scolded, the more firm I was that I was right.”Li Li Liuyi thinks it’s normal to have controversy:” For decades, most people have been accustomed to a fixed way of thinking. It is actually very difficult to change them.Including our experts and scholars, it is sad to judge all art forms by their standards that have not changed for decades.For a long time in the past, the so-called innovations were often ‘pseudo-innovations’, and did not stem from the needs of real life and art.”In 2006 to commemorate the 50th anniversary of the completion of the Capital Theatre, Li Liuyi directed Cao Yu ‘s“ Beijing Man ”, which also opened the true golden age of his artistic career. During the next ten years, he directed more than ten domestic and foreign films.Various stage works.Li Liuyi rehearsed the scene at “February”.Picture / National Theatre Li Liuyi claims to be a “director who has nothing to do with the drama circle”, does not mix circles, and does not care about the comments of the people in the circle. Regarding the current situation of Chinese drama, Li Liuyi believes that “entertainment to death” has become an important category occupationThe theater.”I read the article” Drama Sick “some time ago, and when I saw the point of view, I thought it was ridiculous.There is no problem with drama, it should be that these people who are engaged in drama have problems.The country has given so much money every year to fund art development, but what has been remembered in recent years?In the past, it was said that there was no money. Now that the government has provided funds to support it, or is it impossible to create good works, who is the problem in the final analysis?”This article is compiled from the previous report of Sauna Ye.

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