?
? Personality: calmly face the sacrifice.
? Previously, Beijing Opera, Yue Opera, Henan Opera, xiang opera, Pingju and other operas, as well as dramas and operas, have all shaped the glorious image of Yang Kaihui on the stage. It's actually quite difficult to write this picture now. However, the founders were very wise and finally found a different starting point among the hot topics that have piled up like mountains. On the surface, the time management of the play is exquisite, focusing on the last four hours of Yang Kaihui's life and further investigating. This delicacy led to her poetic expression at the last moment of her life, which was quite close to the euphemistic delicacy of Huangmei Opera: when she learned that her life was coming to an end, Yang Kaihui was not in the slightest panic, nor was she too impassioned, but was unusually calm, serene and calm. From the day she followed Mao Runzhi to participate in the revolution, she risked her life and persisted in the belief that "I should be small and achieve my greatness".
? In the first paragraph of the play, the Commissioner and the warden came to make a death warrant and were stopped by Yang Kaihui from the cell door. She turned and asked Chen Yi to get a trench coat. She wants to cover up the scars and blood all over her body, and she wants to keep grace and dignity when she is in prison. A relaxed tone is like reciting a poem. In the third paragraph of the play, after Yang Kaihui answered Mao's question "How's Dad?", he missed his lover emotionally, sang "Runzhi, I only trust you in this life", recited his shortcomings, danced and danced, and expressed his flexible will of persecution and sacrifice with poetic dance. In the fourth paragraph of the play, there is less than an hour before the end of life. Yang Kaihui remained calm, serene, calm and methodical when explaining the aftermath to Chen Yi. For the sake of three underage children, Rola Chen has been urging her to compromise. After tactfully refusing, she used a sentence similar to a four-character poem to express the complicated feelings of a producer who died peacefully: "When people are dying, their words are very good. I feel that when people are dying, they will be relaxed. "
? In do or die, Yang Kaihui always maintained a calm attitude and a poet's temperament dedicated to his faith. This attitude and temperament paved the way for the poetic expression of the whole play.
Plot: played down, played down a little more.
? As a narrative art, traditional Chinese opera has always paid attention to the importance of story plot. It is hard to imagine that a drama has no main plot, or central event, no complete plot chain, and no ups and downs of plot process. For Yang in Immortal Pride, whether Yang Kaihui signs or doesn't sign the divorce statement, he can live if he signs it, and die if he doesn't, which may be the core plot of the whole drama. But at this moment, Yang Kaihui's activities and interpersonal communication are restricted in his cell, so he can't expand the memory of the original plot, get enough delay and form a tortuous transition process. Therefore, while the plot development space is limited, the poetic expression space is suddenly enlightened.
? On the one hand, the core plot has been diluted, on the other hand, some scenes that are far from the plot development but can better see the emotional flow of the characters have been strengthened, so the play is full of poetry. For example, in the first paragraph, Mao saved a small sparrow stuck in barbed wire. Yang Kaihui was deeply touched by his situation and said kindly, "He was injured and his leg was broken. You should tie his leg with a small stick. When he recovers, let him fly out, rush out of the cage and find freedom. " For example, in the third paragraph, Yang Kaihui took out his father's pocket watch from his suitcase and sang affectionately: "My father's pocket watch is ticking, and the sound should be in my heart ..." Another example is the flashback of "Youth" and "Xiang Lian", which is not the usual flashback, but the scene memory of Yang Kaihui's early life fragments. At that time, it was full of vitality, in its prime, and full of poetry.
? In contrast, the argument about the signing statement in the second paragraph and the identification of the authenticity of Mao Runzhi's letters in the third paragraph are important links in the plot chain, but there are inevitably some traces of collage. The problem of "reasonable and unreasonable" has been solved in the first paragraph, so there is no need to be serious at this time. And Mao Runzhi's so-called letter, it is unknown, there is no need to distinguish between true and false. It is better to let the plot fade, let the objects in that suitcase trigger more emotional memories and bring more poetry to the play.
? Structure: the freedom and fluency of time-space transformation.
? The structural rules of western drama come from the "three unifications", which emphasize the consistency of time, space and plot. After the sublation of the "three unifications", various types of drama structures have emerged, most of which are extensions and extensions of this law. China's traditional drama is different from western drama. However, in terms of structural organization, whether it is plate structure or dotted line structure, there are still requirements for the relative concentration of time, space and plot, and there are also restrictions on the way of time-space transformation. The so-called era is the external sign of these requirements and restrictions. In recent years, many non-dramas have strengthened the freedom of time-space transformation and enriched the presentation of drama structure. For example, Yang's "Immortal Pride" is free and easy, fluent and poetic.
? As mentioned earlier, the last four hours of Yang Kaihui's life and the prison where she was imprisoned constitute the main space-time scenes throughout the play, including two time-space transitions from leaving the prison to returning to the prison. Generally speaking, the internal logic of time-space transformation is to obey the needs of narrative progress, but after the plot is diluted, it turns to obey the natural flow and poetic drift of characters' emotions. So in the lonely cell, whenever Yang Kaihui "opens the familiar suitcase and recalls the old days", Huayou Yang Kaihui will bloom in the normal playground, and Yang Xianglian Kaihui will dance in the middle school auditorium without any deliberate flashback. The most wonderful time-space transformation takes place in the fourth paragraph. Determined to go to jail, Yang Kaihui is going to sing the last core aria. In an instant, the prison cell collapsed without a trace, replaced by a wilderness, a hometown of hot land, and a land of the motherland. Yang Kaihui walked, danced and sang in the boundless space-time, and more and more people gradually surged around him, converging into a torrent of revolution.
? Due to the seamless transformation of time and space, the whole drama runs through in one breath, naturally, without pause and interruption, just like a poem without punctuation marks, which describes Yang Kaihui's short and great life poem.
? Picture: White butterflies are flying.
? Speaking of image, it was originally a concept in poetry. Through the poet's language description, many objective images are infected with subjective feelings and become symbolic artistic images. The image in painting is more intuitive, and the painter's subjective thoughts and feelings penetrate into the objective image, thus producing a meaningful artistic image. The so-called "painting in poetry, poetry in painting" means that the "image" described in poetic language can produce a sense of picture, and the "image" depicted on the picture can produce a sense of poetry. Later novels, plays and other narrative arts all borrowed this technique to create poetic scenes. The premiere of Yang's Immortal Pride once again provided a successful practical example for the image presentation of China's traditional operas.
? We are all familiar with the poem "butterfly lovers answers Li Shuyi", lamenting that the epigraph is so beautiful, which just corresponds to the infinite affection between loving couples and revolutionary comrades. The image of the play is as follows: as soon as the audience enters the scene, they can see the white butterfly flying freely on the screen, suddenly stopping on the blooming red plum branches and suddenly flying away. In every paragraph of the play, Yang Kaihui always wears that big-breasted white dress, which turns out to be so white, plain white, jade-like white, soft white, pure white and even innocent. Her calm, soft and tenacious poetic expression, like a flying butterfly, flies over the cell, on both sides of the Xiangjiang River and in the sky, symbolizing that the revolutionary spirit will never grow old and sublimate all over the sky. At the end of the whole play, the melody of "Recent Love" echoed in the theater for a long time, romantic and colorful, which was really meaningful.
? However, the image of poetry comes from the description of language after all, and the poetic expression of opera can reach a high level. First of all, it is also a language expression based on text, including poetic lyrics writing and predictable hints of poetic scenes on the stage. There is still room for further improvement in this regard.
Possibility of poetic expression
? There is no doubt that China's traditional operas should belong to narrative art. Therefore, trying to express poetically, weakening narrative and strengthening lyricism, weakening plot and strengthening scene in China's traditional opera creation may produce some different voices. However, the rapid changes in the aesthetics of the times do not allow us to stand still, nor do we allow us to change with constancy. What's more, the narrative rhythm of China's traditional operas is outdated and challenged after all. In addition, there is still room for lyricism and poeticization in the composition of China traditional opera elements. What's more, Huangmei Opera has always been a kind of drama that is good at prancing and courageous in the opera family. In addition, the poetic exploration of Huizhou women also set a good example. Nowadays, in the face of the creative theme with little plot memory and being preempted by many dramas, it is logical and remarkable for Yang to simply switch angles and turn to poetic expression. In fact, a creative poetic style of Huangmei Opera is becoming clearer and clearer. As for how far this style can go, we want to predict cautiously and boldly: anything is possible!
202 1、7、25、