Before the performance, the students made full preparations. I am no exception. Our group is playing "Borrowing Arrows from Grass Boat". The director is a famous "popular girl" in the class, the protagonist is the monitor, and Cao Cao is played by "good girl" Cheng. I played Zhou Yu in it. We were called by the director to rehearse before the performance, alas! What a hard performance!
On the day of the performance, I was very nervous and my heart was pounding like a rabbit, for fear of saying the wrong lines. The host started with her beautiful voice and announced that the first group was Zhang Shibei. They performed vividly and vividly. Unconsciously, we arrived at our group, and we went to the stage neatly to say hello to everyone. Then I got into the plot. I sat proudly in my chair and sent someone to announce Zhuge Liang's meeting. Zhuge Liang respectfully asked me what this was. I said, I want you to make 100 thousand arrows in ten days. Zhuge Liang agreed and went to Lu Su (Li) for help, and Lu Su was willing to help. Three days later, they went to Cao Cao to get an arrow. Later, when I learned about the whole process, it was better for Zhuge Liang to sigh. I completed my performance in a leisurely manner according to the usual rehearsal.
The performance that makes me happiest is the seventh group "Fools Go to School". The hero fool is Zheng Zemin, whose monitor looks particularly like the famous king. He plays vividly. After the performance, everyone laughed their heads off and applauded like thunder.
Finally, the performance of the textbook drama ended in laughter. I hope this kind of activity can be held frequently in the future, so that we can get all kinds of exercise.
2. The best poems quoted in China's classical dramas must be loved and understood by the audience. Some obscure or deep-rooted poems must never be used, otherwise the audience will not understand them, and the actors will live in vain. To put it bluntly, it is necessary to use what the audience has heard and recited.
The best are Li Bai's and Su Shi's poems, because their poems are bold and unconstrained, which can produce good stage effect, and because their poems are well-known and easy for the audience to understand, they produce * * * songs. For example, Li Bai's Shu Dao Nan, Jiang's It's Hard to Go and so on, Su Shi's Niannujiao Chibi Nostalgia, Mink's Song Tou (when is the bright moon), setting the wind (crossing the forest without listening to the sound of leaves) and so on. According to the needs of the plot, you can quote the works of Li Qingzhao, Du Fu or others. If you want to express too deep and gloomy feelings, it is very appropriate to choose their poems, but they should be accompanied by music that can highlight the effect.
3. What are the characteristics of the language of the textbook drama? Textbook drama is the adaptation of narrative poems in the text into drama.
How to write: 1 Writing a textbook-style drama according to the characteristics of the script is a comprehensive stage art, and the script is the basis and basis of stage performance. If we want to adapt the narrative poems in the text into a textbook drama, we must first understand the characteristics of the script, and then we can compile a textbook drama that meets the requirements according to its characteristics.
Writing a textbook drama must highlight three characteristics of the script: 1. Space and time should be highly concentrated. Scripts are different from novels and essays, and are not limited by time and space. It takes time, characters, plots and scenes to be highly concentrated on the stage. On a small stage, several people's performances can represent a tribe. After a few turns, it can be said that you have crossed Qianshan and changed a scene and characters. It can be said that you have arrived at a brand-new place or many years later ... thousands of miles apart and spanning several years, you can all show it on the stage through the transformation of scenes and fields.
"Act" and "field" are often used in scripts to represent paragraphs and plots. "Act" refers to a large section of plot development.
"A scene" can be divided into several scenes, and "a scene" refers to a plot that changes in space or separates in time. Scripts generally require that the length should not be too long, the characters should not be too many, and the scenes should not be changed too much.
Novices adapt short plays from textbooks, and it is best to write short one-act plays. 2. The contradiction reflecting real life should be sharp and prominent. All kinds of literary works should express social contradictions and conflicts, while drama requires that the contradictions and conflicts reflected in limited space and time should be more acute and prominent.
Because drama is a literary form to reflect the contradictions and conflicts in real life, there is no drama without contradictions and conflicts. Because the script is limited by space and performance time, the real life reflected by the plot must be condensed in the contradictions and conflicts suitable for stage performance.
The conflict in the script can be roughly divided into four parts: occurrence, development, * * * and ending. When performing, we should attract the audience from the time when contradictions occur. When the contradiction develops to the most intense, it is called * * *. At this time, the plot is also the most attractive and wonderful.
The * * * part is also the "highlight" of script writing and stage performance, which is the most "important" and needs the most effort. 3. The language of the script should express the characters. The language of the script includes two aspects: lines and stage description. The language of the script is mainly lines.
Lines are what the characters say in the play, including dialogue, monologue and narration. Monologue is what characters say when they express their personal feelings and wishes alone. Narrator is what a character says to the audience from the side behind other actors on the stage.
The script mainly promotes the development of the plot through lines and expresses the character. Therefore, the language of lines should fully express the character, identity, thoughts and feelings of the characters, be popular, natural, concise, colloquial and suitable for stage performances.
Stage description, also called stage suggestion, is an indispensable part of the script language and some explanatory words in the script. Stage description includes characters, plot time and place, costumes, props, scenery, expressions, movements, ups and downs of characters, etc.
These explanations have played a certain role in portraying characters' personalities and promoting and developing drama plots. This part of the language requires concise, concise and clear words.
This part of the content generally appears at the beginning of each scene (field). The end and middle of a conversation are usually enclosed in brackets (square brackets or parentheses).
Understand the characteristics and requirements of the above scripts, and then refer to the learned scripts, you can try to learn to compile teaching drama. Second, rewrite the script into a story. The similarity between the script and the story lies in the characters and environment, and there are many vivid descriptions and detailed descriptions.
The difference is that the story is not limited by the time and space of the stage. Therefore, if you rewrite the script into a story, you can play it freely, and time and space need not be so concentrated.
The whole story can form the beginning, development and * * * of the story according to the development and change process of contradictions and conflicts in the script. The plot structure of the ending.
In the story, we can strengthen the psychological description and action description of the characters, making the characters more prominent, vivid and rich in thoughts and feelings. At the same time, the scene description in the stage description of the script can be changed to the environment description, which provides a broader world for the development of the story and the activities of the characters.
In short, whether narrative poems are adapted into scripts or scripts are rewritten into stories, we should pay attention to the forms and characteristics of different styles, and strive to correctly understand the original work, so that the adapted literary form can fully and accurately express the theme and main content of the original work. References:
/0 10504/2005_0 1/20050 127_ 100293。
4. adapted from classical Chinese sketch script, retired from Qin dynasty.
Time: 630 BC
Venue: Qin Jun Camp in the south of Surabaya.
People: Candle, Qin Bo, bodyguard Wu.
[Curtain rises]
(The guard opens the curtain and bows in)
Guard: Your Majesty, Zheng Guo's army with candles asks for an audience.
(Qin Bo stops writing and looks up slightly.)
Qin Bo: Xuan.
(Guards go out, candles go in)
The power of candles: (Bowing) See Qin Bo.
Qin Bo: (majestically) No ceremony.
The power of candles: Xie Qinbo.
Qin Bo: What brings you to my Qin Ying?
Candlelight: Now Qin Jin's army is coming, ready to besiege Zheng, knowing that Zheng is going to perish.
(Qin Bo smiles)
Wu of Candle: (with a serious expression) Qin Bo, if you really want to destroy our state of Zheng, then you can destroy it! (Pause for a moment) But is it easy to cross the State of Jin and take Zheng on the other side as your boundary?
Qin Bo: (touching his beard for a moment) What do you mean?
Candlelight: There is also a state of Jin between Zheng and Qin. If Zheng was destroyed by the state of Jin, wouldn't it become the territory of this neighboring country? Your state of Qin is far from Zheng. Then how do you solve this problem? (Glancing at Qin Bo carefully, Candlewick Wu) All the soldiers came all the way to Zheng, only to increase the land for the State of Jin. Is it worth it? (Speed up) If the neighboring countries are strong, the national strength of your State of Qin will be weakened a lot!
(Qin Bo frowned)
Qin Bo: What you said is very reasonable.
The power of candles: (exulting) Xie Qinbo!
If you are willing to give up attacking Zheng, I am willing to make our country the master of your Oriental Road. (Pause for a moment)-When the envoys of the State of Qin pass by, Zheng Can will supply the materials they need at any time. I think, for Qin Bo, there is nothing to lose.
Qin Bo: (thinking) Your suggestion is worth considering. But I have an appointment with the state of Jin. How can I go back on my word easily?
Candlelight: (unhurriedly) I don't know if you still remember that you were very kind to Kim, and Kim promised to give you a gift. However, don't you know that he crosses the Yellow River in the morning and builds walls at night? Now he wants to regard Zheng as the eastern border, and he will continue to expand the border to the west, which is bound to infringe upon the interests of Qin!
Qin Bo: (with a scowl) Hum! Our state of Qin was damaged, and his state of Jin benefited. Damn it!
(After pacing around for a while) Well, he is not kind, why should I keep my righteousness!
Candlelight: So ...
Qin Bo: I'm taking someone back to China. Does the promise between us still count?
The power of candles: (excited but polite) Xie Qinbo! I'll visit you again another day and formally sign a Covenant with Qin Bo. I hope Qin Bo will allow me to see you then!
(Both laugh)
Qin Bo: Haha! All right!
(Candles are forced to retreat)