Pulling Pulley is a patriotic drama, which tells the story of Gao Chong, Yue Fei's favorite general, recommending himself to fight against foreign invasion.
In ancient times, fighters and horses were a whole. Gao Chong tried to pick with all his strength, and his back was like a mountain-he felt that the iron pulley was heavier than one, not the iron pulley, not Gao Chong's strength getting weaker and weaker, but the horse's strength getting weaker and weaker until the last bit of strength was exhausted, and the last iron car was pressed up, and the horse didn't have the strength to go up again; Gao Chong once again urged the horse to go at once-Gao Chong knew that the horse had no strength, but he still walked forward firmly and resolutely, and was finally crushed to death by an iron car.
This is a long-term martial arts drama that is difficult to perform well. In the national drama circle, there are very few people who can perform this drama well.
I saw Mr. Huang personally teach this play for two years in Shijiazhuang in my early years, and I also saw him demonstrate this play in Shijiazhuang when he was in his sixties.
Young actors can learn a lot with their martial arts and strength, but without twenty or thirty years of study and tempering, it is difficult to learn the charm of Mr. Huang's performance. That's what I thought at the time.
Later, I talked to the person who studied the play with Mr. Huang at that time about pulling the pulley. He said that he was afraid to play more and more-when he was young, he played with momentum; When I was a few years old, I understood a lot, and I had characters in my heart, fearing that my performance was not good and my strength was slightly insufficient. Just like calligraphy, you don't understand the mystery until you are old. Traditional Chinese opera calligraphy is easy to grind.
Many film and television dramas have quoted the lines and fragments of Pulley.
Bai Jingqi's words in The Big House Gate: Look at that dark place, it must be a thief's lair. When I catch up, I will kill him cleanly-that is, imitate Gao Chong's lines.
I can't help thinking that there is such a plot in the revolutionary historical TV series "Awakening Times":
When Li Dazhao was preparing to hand out leaflets at Tianqiao Theater, he saw Pulling Pulley being performed on the stage. He stood quietly on the second floor watching the play, watching it carefully-he didn't want to hand out leaflets, but he was infected by Gao Chong's heroic feat; There are also those who are unwilling to interrupt this anti-enemy drama performance; Gao Chong on the stage and Li Dazhao in the TV series are highly integrated.
Until Gao Chong was crushed to death by an iron pulley, Li Dazhao's eyes were still there? Full of tears, then he distributed leaflets, calling on people to stand up and fight for the national independence of the Chinese nation!
The integration of the inside and outside of the play shows that the revolutionary pioneers sacrificed their lives for the national interests and did a good job!
Zhang Tong played by Li Dazhao better shows the director's exposition of this group.
Unfortunately, the opera actor who plays Gao Chong in TV series is not skilled enough, far from the level of relying on martial arts, or even unsatisfactory. Therefore, it is also difficult to infect and mobilize the emotions of the audience;
Such a huge TV series claims that every prop and every scene has been refined to restore the original appearance of history at that time. Then, for such an important event, actors with such dramatic skills should be invited to perform.
When it comes to restoring history, Yang Xiaolou, who enjoyed the reputation of "martial arts master" at that time, was already in his thirties. Is it also an aspect of restoring history to restore his artistic image on the stage when he is in the limelight?
Such an important historical theme is not something that ordinary opera actors can prevaricate. Even if it weren't for Yang Xiaolou, it was no ordinary actor who dared to play Pullman.
As for why it is so melodramatic, I want the audience to better understand-why this drama has been filmed repeatedly, and why we can see the revolutionary pioneer Mr. Li Dazhao crying, so as to achieve the perfect presentation of emotional connotation and image extension and better understand the plot.
I found that in many film and television works, when interspersed with traditional operas, I often appeared as a producer. My original idea was good, but it often backfired. If you don't understand traditional opera, please ask a responsible and conscientious opera expert to be your staff, and do traditional opera with the same high standard as film and television production. Otherwise, it is inevitable that there will be strange things like scratching boots and shoddy goods.
I feel sorry for those who were crushed to death by the iron pulley, and I feel even more sorry for Huang who died on the stage. They are opera actors who put their lives on the stage. I don't want to watch the specious drama in the film and television drama.
Because the average actor can't pick the pulley.