China News Service, Beijing, June 15 (Reporter Ying Ni) The large-scale legendary historical drama "The Great Emperor of Han Wu" was performed in Beijing Tianqiao Art Center on the Dragon Boat Festival for three times.
The unconventional interpretation of Emperor Wu of the Han Dynasty, the stage layout of multiple spaces, and the presentation of pan-Oriental culture staged art, staged an amazing drama for the audience.
The core character of the whole play is Liu Che, the Emperor Wu of the Han Dynasty, who is known as the "Eternal Emperor". The public is familiar with the historical events of this emperor. How to create a stage that is different from other works of art on the stage of the drama and portray this more three-dimensionally. The character and heart of a legendary emperor are the challenges faced by the creators and the expectations of the public for the show.
Photo courtesy of the crew
The play "The Great Han Wu" runs through the important nodes of his life through many dreams of Emperor Wu of the Han Dynasty. It reproduces the fate of related historical figures with characters closely related to Emperor Wu of the Han Dynasty such as the Queen Mother Dou, Dong Zhongshu, Zhang Qian, Chen Ajiao, and Wei Zifu. Entanglement, the Han Wudi's attitude towards history, his relatives and courtiers around him is legendary but historically authentic. It tells the magnificent life of a generation of heroes, Han Wu, and the rise and fall of the Han dynasty under the rule of Han Wu. .
In the play, the depiction of dreams has become an iconic rhetorical method for the play, and it also assumes an important narrative function, thereby promoting the development of the plot, and carrying out an all-round view of the major events and historical processes that occurred during the period of Emperor Wu of the Han Dynasty. Analysis and interpretation, a rational and profound analysis of human nature and society in a specific historical period, revealing a picture of the Han Dynasty full of vicissitudes and profound intentions.
The whole drama features the twilight of the emperor, the dreams of the rituals, the empress dowager's reign, the young emperor respects the Confucianism, the guardian cherishes spring, the prince is in trouble, the mother and the son cry goodbye, the souls are hung up, the golden house hides the Jiao, the old woman buries the children, the soldiers are out, the dream of Taoyuan, the young 16 scenes such as Mu Xin, Don’t Dream and Sin Yourself, Establishing Son Killing Mother, and Ancient Jade Like a Mirror construct a dramatic plot. These historical moments depict the multiple colors of Han Wudi’s life.
This is not a work that "shows history" in a simple sense, but a reinterpretation of a generation of Emperor Han Wudi.
The playwright Meng Bing took a break from a large amount of historical materials of the Western Han Dynasty, looking for a different perspective, through a few sleepwalking fragments of Emperor Wu of the Han Dynasty, let Emperor Wu of the Han Dynasty and those princes, wives, concubines and concubines who had died in the past meet in dreams, those souls who lived before his death. Kindness and resentment took the opportunity to show.
The playwright does not deny the great achievements of Emperor Wu of the Han Dynasty. Instead, he invites a king who is ambitious, visionary, and strategic, and at the same time multi-faceted, admired by later generations, to go down to the altar and tear a gap in the human nature. Observing the hidden corners of his heart, under the premise of respecting historical facts, he reshaped an ordinary person of flesh and blood, with normal spirit and secular emotions, and newly positioned a unique Liu Che who is loyal to history and belongs to the playwright alone. .
Photo courtesy of the crew
In the creation and rehearsal, the director Chen Dalian also tried to get rid of the usual stereotypes of theater creation, and refused to narrate historical events in a single linear manner or interpret the experiences of historical figures from life to death in a flat manner. Instead, he re-deconstructed the emperor, courtiers, and even the family and people of the emperor. The relationship between the characters in the play is to explore the untouchable memories and plots of the characters in the depths of their hearts, and to explore the pains of the characters buried in the depths of their souls.
In terms of the way of presentation, the audience is brought into a space combining reality and reality with the help of "dreams", trying to present a "Han Wu Dadi" that is different from the predecessors, and at the same time rethinking the direction of history from a different perspective and creating contemporary times. A surprise in the theater.
The main creative lineup brings together the top domestic stage creation team.
The stage design Ma Lianqing changed his drafts four times, and was finally conceived based on the row upon row of Wudi Liu Che’s dreams. During this period, the representative image modeling elements of the Western Han Dynasty were collected, and the main colors of the overall space modeling were composed of dark and red. The main space installation through the space — -The "throne" rises or falls or tilts, and the two sides of the space are equipped with styling elements such as bamboo slips and skeletons to echo the changing state of the relationship between the relevant characters in the "dream" scenes of the whole play.
When the scene changes, the layered shape of the white bones and skulls is slowly launched on the push stage, which will be compared with the material shape of the main device "Throne". The coexistence of multiple spaces allows the alternation of the screen to have more metaphorical expressions and enhance the audience. Imagine.
In terms of character modeling, designer Cao Tingting is bold and innovative. From the leading role to the group performance, each set is luxurious.
There are more than 100 sets of costumes in the whole play. Each set consists of 6 pieces from the inside to the outside, from headwear to footwear, and the most complicated one is even nine or ten pieces.
Exaggerated and freehand methods are used to express the imprisonment and shackles of the imperial power that are both true and illusory, and the grandeur and rich colors of the Chinese clothes express the desolation of human nature under the feudal imperial power and the desire of Han Wudi for the id.
The clothing style is not constrained to show the traditional Hanfu form, but highlights the characteristics of the times. Based on the traditional elements of the Han Dynasty, it combines the traditional oriental aesthetics with the aesthetic expectations of today's audiences for Han culture.
It is reported that the play was produced by Shaanxi Xixian New District Qinhan New City Film and Television Development Co., Ltd., and was jointly produced and performed by Fujian People's Art Theater. The perfect ending of Beijing Railway Station will start the prelude to the national tour.
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