In just two years, from acting because of sadness to becoming the vice president of the National Theatre in charge of artistic creation, Tian Qinxin has made persistent efforts to become a missionary director who speaks for the people and expresses his feelings for the times-the National Day party "Struggle! The deputy director of Sons and Daughters of China, the drama director of China in the Story, the best TV variety show of Magnolia Award, and the writer and director of the national opera The Road to Poverty Alleviation, which is a key stage art drama with national realism and revolutionary historical themes ... She tells the main theme story with her consistent China aesthetics and literati style, and also fulfills her small ambition of "depicting all beings" with art.
It's exhausting to really participate in a TV program for the first time.
But the country is happy.
Although I have done an anonymous project before, this is the first time that Tian Qinxin really participated in the recording of TV programs. It is common to stay up late and get confused sooner or later. I am very tired, but I am very happy. "Every one is a fresh story and characters. In the second season, different geographical environments will appear on the stage. For example, in this issue of Zhong Nanshan, there will be bullet trains and Tianhe Airport on the stage, as well as scene changes from Wuhan to Beijing, including Wuhan Jinyintan Hospital, which frequently appeared in the news during that period. These memory scenes will be restored through the big screen and the performances of actors. "
Looking back on the first season, Tian Qinxin made no secret: "I loved every episode. But the hardest part is the episode "Out of the Sky", which shows the birth of the atomic bomb based on Qian Xuesen. In order to show the tower explosion base, we changed the scene on the main stage for the first time. Originally, we wanted to make the drama and dance look better, but this time we had to change the scene. It was really a topic and it was difficult to finish. After this experience, I happily and difficultly went to the later Long Live Youth. From the classroom to Tiananmen Square, it shows the gathering of young people. I don't know how it was done at that time. "
"In the second season," China in the Story "must show the anti-epidemic story, and there is an episode called" Youth in Battle ". We specially invited the post-90s medical team of Peking University to teach the actors professional knowledge, including how to quickly put on protective clothing and rescue procedures. I am very concerned about the professionalism of the actors, even including the equipment of dancing beauty. It is particularly important to restore some scenes through film and television shooting, and the authenticity of every detail and language is particularly important. "
Don't use performance to interpret it.
The realm of "drama is nonsense, but I am serious"
As the vice president of the National Theatre in charge of artistic creation, when Zhou Yuyuan, then the president, handed China in The Story to Tian Qinxin as a task, she not only didn't refuse, but was even a little excited. "With the help of TV media, I can finally get in touch with the world. But unexpectedly, when I really got started, I returned to the front line and entered the working state. Television workers are very hard, and only young people can stay up late to finish. "
In the second season of this year's National Day broadcast, Tian Qinxin found many stories wonderful. "For example, Eighteen Cave Village belongs to Xiangxi Tujia and Miao Autonomous Prefecture in Hunan Province, but it is actually a gathering place in Guichuan, Yunnan Province. Living in this area, there will be some strings of people's ways of speaking. I am actually a little worried about letting the actors say such things, but I can only say that when Chloe Wang finally appeared, I was shocked by the actors. "
China in the Story not only conveys the positive energy of the theme story itself, but also the star actor has become a creative attraction. "Hugh is my respected actor. In fact, before "Never Gone Radio Wave", we first cooperated with the 70th anniversary party "Struggle! Chinese sons and daughters. Among them, the plot fragment of * * * Love with the Country shows the story of Guo Yonghuai, the founding father of two bombs and one satellite, committing suicide in the country. At the moment of the plane crash, he protected the precious documents with his body, and finally left all the information in his briefcase intact. It was originally a narrative fragment, and later it was made into a dramatic interpretation. Inside, when he was hit by a plane and 400 meters from the ground, he and the guard hugged his briefcase tightly and touched all the people watching. The nobleness of a person's quality can only be similar if it is only a manifestation. A person's greatness is reflected in whether he can get rid of the ego and achieve a great soul at a critical moment. For the performance of that life and death moment, Hugh practiced falling to the ground again and again. He has no idol baggage. Most actors are sensitive and even a little neurotic, but Hugh is not. He is very calm and always accepts the director's words in a very calm state. Besides, he is also a truth-seeking actor. In "Never Died Radio", when he was playing the scene when he was separated from his wife, her wife asked him if he could swear to his children. At that time, he couldn't have lied. Hugh didn't answer, but hugged his wife. After Hugh offered such treatment, I agreed without hesitation. An actor can think like this, and he can interpret his love with his wife in a better way. In fact, it has a lot to do with his own honesty. He used his own performance to interpret the realm of' the play is slang, but I am serious'. "
Every time you shoot a new story.
There is a pleasure of falling from the void.
Every time he shoots a new story, Tian Qinxin has a feeling of falling from the void. "It is a kind of stimulation, which makes people forget the tired external environment."
In the second season of China in the Story, Guan Xiaotong plays a true story about Mongolian grassland, which tells the legend of national unity that an orphan raised 28 orphans. "When shooting, there will be two horses on the stage and urinate on the stage. The scene is full of real grassland flavor. Guan Xiaotong is a real Beijing girl, but in order to get close to her role, she has to speak Mongolian Mandarin this time. As for this nation's Mandarin, we actually have no ear sounds, so it is difficult to capture the characteristics of language keywords, but the actors are really great. Guan Xiaotong and Ceng Li soon entered that language system. "
Tian Qinxin also commented on several actors who left a deep impression on her in the director's unique way. It can be said that "Never Gone Radio Wave" is Tamia Liu's first drama, and her explosive power is very good. I thought she was a beautiful girl, but I didn't expect her to be explosive and quick. She used to play skits in the army and had a good stage image. Wu has no idol burden and is not likable. Usually, she sits in the corner and recites words. She is very young, but she works hard and is very dedicated. Even if it is photographed at 3 am, I can cry every time, and I also ask for a simple makeup. Principal Xin in "Phoenix Qin" speaks Hebei dialect, and "Mountain Carving" with red mud is still so faded in life, but it has strong control in front of the camera. Guo Tao's Ordinary World, Liu Ye and Chen Shu's Burning Eyebrows, Li Naiwen and Tu He all left a deep impression on me, as well as Li Guangjie. The actors have a very accurate grasp of this 60% film and television and 40% drama performance. "
The combination of drama and television
It takes a complicated process from creativity to completion.
In Tian Qinxin's view, without her experience as the general director of China in the story, she would not have the opportunity to shoot so many realistic works in Mandarin in such a short time. "Every episode is a half-hour drama, which also gives me the opportunity to try film and television shooting. The young people in the column group are very dedicated and demanding. From script presentation to cultural interviews, the integrity of the text and the logic of the interview are excellent. "
The combination of drama and film and television, the previously recognized model is the drama film of the British National Theatre. "We have been exploring where drama can be combined with film and television? Where does the perspective of film and television shooting cut in? We all like NT live (a dramatic film of the British National Theatre) to record the stage with film, and adopt dramatic performance and cinematic shooting techniques. China in the Story is broadcast on TV platform, which is completely new to me. The core is a solid drama story, and the significance of innovation lies in completing a solid and logical story, and seeing the level of China drama actors and the director's grasp of structure from the performance. Drama itself has strict psychological logic and needs to weave a story in a short time. When it is combined with TV, it is actually a completely different way of creation from drama. The structure from creativity to completion is complex, and it can even be said to be a project. The way of working is to make a story first, and then the director group needs to find a lot of information, all kinds of true and informative information, and then find experts to demonstrate and ensure that the technical terms are foolproof. After the screenwriter establishes the story, the director group needs to establish the main scene, then compose music and find actors. After all the lights and costumes are in place, the drama rehearsal of the mass actors will be carried out first, and the main actors will look around after entering the venue. Half an hour's presentation process is actually many, many ... "
Tian Qinxin believes that from the first season to the second season, it is difficult for many people to get familiar with contemporary people. "For example, you are familiar with academician Zhong Nanshan. We look for elements that can become stories by reading books and reading his reportage biography; For example, Huang Wenxiu, the "first secretary" who sacrificed in the front line of poverty alleviation, also looked for stories from the materials; Including Lei Feng, besides his miserable childhood, how should we extract the spirit of Lei Feng? We have repeatedly discussed what to learn from Comrade Lei Feng. We even showed his pre-history, such as waiting for Chairman Mao to get off work at Jinshuiqiao in order to meet his fellow villagers, but he didn't wait. There are also post-90 s who have played a great role in fighting the epidemic. We focused on their uneasy hearts on the plane. After all, as soon as they got off the plane, they went to war. Drama can tell their inner secrets. After reading it, the members of the Hubei Medical Assistance Team all said that they were very moved and spoke their minds. "
As a director, I have always been in awe of my career.
Recently, the national opera "The Road to Poverty Alleviation" directed by Tian Qinxin has been auditioned in Guangxi. Tian Qinxin's creation really touched Huang Wenxiu, a beautiful life that passed away in her youth. "It is said that the theme of the main melody is not easy to do. Being a hero sometimes has some delusions other than stories and characters. I think there is no obstacle to integrating artistic aesthetics with the main theme. Before making a play, I will not think too much about the theme or the so-called artistic theme. What I want is how to express it in the form of art, without modification, just normal. Aesthetics itself goes with goodness, and miracles will happen naturally, not create miracles. The national drama itself is a new topic, and there is no law to be found, which needs to be redefined by ourselves. "
In the past two years, the crew has been to Guangxi eight times. I went to Baise for the first time and built roads. Later, on the first day of her death 10, Tian Qinxin arrived at the site of her accident, when the road had not been repaired. "I had an induction with this girl at that time. At this moment, there is a big yellow butterfly flying towards us. There is a legend in Guangxi that dead relatives will fly back to see if they miss their families. The village chief said that Huang came to see us. The legend is beautiful, and we are also doing this drama for her, for the 2.9 million' first secretary' running on the road to poverty alleviation, with such a touch. Huang Wenxiu's working environment is not simple, but simple. A very detailed survey of three poor households shows her meticulous work. This girl sings well, looks good, smiles cute, cheerful and loves to laugh, but it is such a girl who will be liked at first sight. She didn't rest until she left. She was very tired. She didn't see the decisive moment of the poverty alleviation year, just like a paving stone on the road to poverty alleviation. We just want to make up a good story for her that conforms to China's aesthetics. "
In Tian Qinxin's view, this is not true. She is really grateful to be able to complete the honor and mission entrusted by the country. "I hope my participation is the condensation of people's livelihood and national construction. When the "two sessions" sang the national anthem this year, my nose suddenly became sour. This is not the feeling of winning a gold medal in the Olympic Games, the difficulty of fighting the epidemic, or the pressure from foreign forces. I can feel the hardship of the country. Artistic creation is my job, and there is no reason not to do it well. As a director, I have always been in awe of my career, which brings me recognition and artistic work gives me stability and security. As for the administration of the theater, I'm still in the learning stage. The theater will promote young directors this year, and the filming of stage documentaries is also being explored. The times are advancing, and offline theater art should also meet the arrival of online. "