The fifth season of "Daily Supplement" questionnaire launched "Beijing Renyi 70 Years Questionnaire"
Editor's note
On June 12th, the Beijing People's Art Theatre will celebrate its 70th anniversary. I believe that every drama lover has their own curiosity about this palace-level theatre. This time, we will give you the right to ask questions—— "Beijing Youth Daily" specially launched the fifth season of the "Daily Supplement" questionnaire to solicit questions from the public about Beijing people's art, including theaters, theaters, repertoires, performances, past events, from theater leaders to directors, actors, stage designers and even logistics staff. You can nominate your own questions, and we will select the most valuable questions and invite people related to the arts to answer them.
This is a questionnaire from the people to the People's Theater, and it is also the People's Theater's answer to the land and audience that nourishes her, and we also use this form to record history, discuss the present, and look forward to the future.
How to understand that Beijing Renyi is "the theater of the people and the palace of art"?
Feng Yuanzheng (Vice President of Renyi, actor): First, as a literary and artistic unit, Beijing Renyi always adheres to the principle of "play is bigger than the sky".
This is from the moment we entered the theater, we felt it bit by bit.
Why does Beijing Renyi have a saying that "it's true to open the curtain"?
This sentence needs to be said in two aspects. On the one hand, it means that with everything we have and everything we have paid today, we can only know whether the play is accepted by the audience if we see the attitude of whether the audience likes or dislikes it. This is true.
Another is that no matter what happens in the backstage, such as an accident at the actor's home or the actor himself, but at the moment when the curtain is opened, we must perform the show with a full attitude and overcome many difficulties.
All suffering is swallowed up in the stomach.
Therefore, "the drama is bigger than the sky" is the principle we must adhere to.
This should also be the bottom line of the industry.
Second, we must adhere to the spirit of "one vegetable".
The spirit of "Yikecai" is very simple, down-to-earth, and vivid, that is, it has roots, hearts, and vegetables.
Every department is indispensable, not just a good actor and a good director.
Every staff member, every position, such as stage beauty, lighting, makeup, etc., must be very dedicated to complete a performance.
It's a little bit worse, even if a prop is not put on it.
Maybe the audience can't see it, but it's very uncomfortable for us.
The third is to adhere to "people-centered" and "people-oriented".
All works come from life, and art comes from life and is higher than life.
After you get the script, you have to experience life.
If we can't experience the costume play, we have to ask experts and people from all walks of life to tell us relevant knowledge.
For example, when arranging "Du Fu", first of all, we should ask historical experts to talk about Du Fu's historical knowledge, ask experts who specialize in Du Fu's poetry, and ask etiquette experts to teach etiquette, posture, and walking, sitting, and lying at that time.
Use this method away from us.
For the dramas that are close to us, such as "Neighborhood Committee", we go to the community to experience and learn about the details provided by many community staff, and then we move it to the stage, and it is very vivid and vivid when we extract it.
The audience will see it too.
This seems like a high-level statement, but what we do is actually very down-to-earth.
The fourth is to adhere to the "tradition of realist creation".
Our mainstream creations are basically realistic.
This is a tradition that Renyi has always adhered to.
Whether it is the beginning of "Dragon Beard Ditch", "Cai Wenji" and "Tiger Symbol", to the present "Li Bai", "Sima Qian", "Du Fu", "Player", etc., realism is the backbone of Beijing's art creation.
The fifth is to adhere to "pioneering and innovative".
Beijing Renyi School of Drama was created by us, formed our own style, and created the road of nationalization of drama.
"Tiger Talisman", "Cai Wenji", and later "The Pride of Heaven", "Li Bai", "Jing Ke", etc. This is a pioneering method, creating a combination of Chinese tradition and drama. We have made innovations, not like the original opera. Go "gong and drum".
We borrowed traditional opera, but we brought it to life, including the use of scenery, lighting, and multimedia.
This is a path and direction that we are constantly exploring - to go in the direction of our nationalization.
2. Every time you come to Renyi, stand at the gate of the theater, and see the words "Beijing People's Art Theater" on the stone tablet, how do you feel?
Pu Cunxin (Renyi Actor): The big rock at the entrance of Renyi Theater was erected here in 2000. Before, this place in front of Beijing Renyi Theater was a stills gallery, full of stills. I used to watch stills there when I was a child.
In 2000, when the theater was overhauled, it became a big rock. Many people took pictures there, and I also took pictures there.
Every time I see it, I feel very emotional, because Beijing Renyi is composed of three concepts: First, there is this theater, this place, and a theater company has its own theater, which is a blessing, and We have so many theaters, and they are the best to this day.
The second is to have repertoires. The reason why a theater is called a theater is because it has repertoires. The repertoires that Renyi has performed are the qualifications and achievements of the theater.
The third is that with these creative subjects, these amazing actors and directors, they can create good works.
These are the three treasures of Beijing Renyi Theater—theater, repertoire, and artist.
3. In the past 70 years, which "age group" did you belong to when you were in Renyi, and what contributions did your generation of actors make to the development of Renyi?
Feng Yuanzheng: From my personal point of view, when I first entered the art industry, I wanted to be an actor, to be a good actor like them, but I didn't dare to call it an artist.
I don’t think I’ll necessarily be a good actor in my life, so let’s be an actor, at least I’ve fulfilled my first dream—acting on the Renyi stage.
At that time, I felt that as long as I acted here in my whole life, I would be happy. Later, I went to school, and when I came back, I was still in the arts. In addition to acting in dramas, I also acted in TV dramas and got a little nickname, which was very good.
At that time, after the rehearsal of Renyi and the performance, I turned around and went out to film.
So it's often half the time outside and half the time in the theater.
If you don't go back to the theater for half a year, the security guard asks you who are you looking for when you come back?
All I can say is that I am looking for Feng Yuanzheng.
Relatively speaking, at that time, I was very comfortable and comfortable. It was time to rehearse the play, to complete the task and complete the task, and then I went out to film, but then suddenly one day, it was said that Pu Cunxin was going to retire, and Yang Lixin was going to retire... I found that no one was there. , At that time, a sense of responsibility emerged spontaneously, but I didn't expect that I would be able to take the position today (Vice Dean).
At that time, I never thought that I would be the captain of the actor team. I thought it was just like when an old artist took us to act, but suddenly he asked me to be the captain of the actor team. After I became the captain of the actor team, I gradually adapted to it. When I entered the rehearsal room, I found Half are not human actors.
Did I say that art can do this?
Start calling one by one, hold meetings, do ideological work, and finally make a system.
At that time, as soon as we entered the rehearsal hall, a group of people ate snail noodles and steamed buns here. When we were young, this was a big taboo. In the end, I asked that we must not eat here.
The crew is rehearsing here, you eat noodles, that's not good, go out.
Before there was no system, the rules were all in our hearts.
He Bing (actor): I must be an "old comrade"!
Objectively speaking, our generation of actors entering Renyi is unconsciously cultivated by Renyi.
It's like living in a family, all the smells and traditions of this family, you will be stained with some.
From a subjective point of view, I have been rehearsing with Mr. Lin Zhaohua all the time, and I have rehearsed many, many plays. His thoughts also influenced me, and I also brought it to young people without consciously.
We are all influenced by the tradition of human and art, which is a very precious thing.
If you have any unforgettable memories in Renyi, please share some interesting scenes with Renyi.
Pu Cunxin: I have acted in so many plays, and it is a rare thing to experience life. I remember playing "The Emperor Qin and His Son" was the first play I went to experience life. We went to visit the History Museum, went to Hebei, and also Go to the Great Wall, listen to expert lectures, relive history and experience local life.
Then came the "Happy Events", we really experienced life for nearly a month.
Later, I was even more impressed with "White Deer Plain". We lived in and around Xi'an for six days. I remember that these six days were full of scorching sun. Everyone went from house to house to find their own prototypes of life, staring at them to find life.
I also learned to make noodles there, and the noodles were hard, then cut into strips and made several bowls of noodles.
I chatted with the peasant who was working, and slowly got in touch with him. When I played the role, I seemed to find the feeling of the landlord talking.
Those folk artists who really come from the countryside in life will affect the temperament of our play.
He Bing: I really can't remember it. Do you remember any interesting things about your life at home?
Because I live here every day, I don't have fun, I think it's normal.
What is the most influential person, artist and repertoire for you?
Pu Cunxin: It should be my father. He is the predecessor of this theater and also my father. He made me realize that I can only be an actor, and I will be an actor in my life. This is his influence on me, and it is very important.
Lu, do you still remember how you felt when you first acted on stage?
He Bing: Fear.
The first time I came to power, I must have been scared. It was a complete mess, and this fear has lasted for many years. I can’t say that I am not scared to this day (on stage), I can only say that I have gotten better and overcome a little.
Seventh, after the young actors walk out of school, there are still traces of textbooks in their performances. After entering the theater, what methods will they use to better integrate them into the overall performance style of Beijing Renyi?
Now, when Beijing Renyi is creating and rehearsing Beijing-style operas, do you think it is necessary to experience life?
Feng Yuanzheng: "Beijing People's Art Theater acting style" is unique to Renyi. We have unique ways of performing, speaking, and speaking.
To pass it on, young actors must be integrated into this theater.
Beijing Renyi is the most stylized theater, but stylization is not a fixed pattern.
Renyi must adhere to "building a scholar-type art theater". Although our actors may not be able to become graduate students or doctoral students, we must work hard in that direction.
I leave homework for young actors, such as script readings, and I correct their lines and pronunciation.
Reading is also required.
Usually, I can't read a few books except for acting, and I don't even read the script.
Sorry, I let you read.
After reading it, there is a director who analyzes the script and characters, and it will be very helpful if this scene is scheduled one day.
Yan Rui (art director, actor): Every theater has its own style, including the style of the play and the style of the actors.
When students are transformed into adult actors, our theater will have a "return class". Before joining, please tell the old gentlemen about the history of the theater, the style of the play, the style of performance, the style of director, etc.
This is a foundation, and it is a very important process of integrating into art. To be with artisans, we call it "Xun". From the audience watching the performance to becoming a small character on the stage, we can talk about it step by step. Words, slowly oneself will have the breath of art, this is a growth process.
Rehearsal must experience life, this is the tradition of human art.
This is what Mr. Jiao Juyin did when he performed "Dragon Beard Ditch". For example, Tong Chao interviewed the last eunuch in the late Qing Dynasty because of his role in "Tea House", and Mr. Li Daqian went to the prison to find the "Er Hui" at that time... All are in the same line.
As long as an actor has contact with similar people, people who have such experience in life, and then play a role in a special industry, at least they can master their basic characteristics.
For example, when we were arranging "Player", we went to the antique markets in Shilihe and Panjiayuan, and listened to people chatting and listening to lectures. This is a kind of arm for the actors.
8 The film and television drama industry is full of "artists". Is this situation good or bad, and what impact does it have on people?
Feng Yuanzheng: I think it's a good thing. To be honest, it's a two-way problem. First of all, there are many artists in the film and television industry. The excellent quality of art and the ability to act are brought to the crew. Many actors and actresses have emerged from film and television dramas, including myself.
Another big advantage is that these actors who are famous in film and television, when they return to Renyi, may bring back a large number of movie fans and drama fans. Many movie fans and drama fans have never watched the drama. The drama performed by your idol may become a loyal audience of Renyi.
So from this point of view, I think it is complementary.
I also hope that the young people of Renyi may not necessarily become big traffic stars, but they can show their abilities in film and television, which is the most important.
Wu Gang (actor): I don't think it has any impact.
Many years ago, when the old gentlemen were still there, film and television had not yet developed, and everyone was sticking to the stage.
Now is the era of multimedia, and we have to adapt to the things in the new era and keep up with the pace.
Therefore, whether it is a TV series or a movie, this is the best position to hone actors, and they should all try.
As long as there is time without delaying the performance arrangement of the theater, you should go out to experience and experience, which is a good thing, and it is very important for the shaping and integration of actors.
Wang Gang (actor): We actors have performed so many plays on the stage, and it is also a good thing that we can make the audience know each other in film and television and adjust them reasonably.
In fact, when I come back and perform well in a drama, it also brings influence invisibly.
Our theater has a purpose, all the plays outside the theater must make way for the theater's plays. If the theater has you in this play, then you must give up the time for the play.
Usually without you in the show, we don’t stress the art, and it’s not bad to shoot more scenes outside, provided that the time is reasonably staggered.
If it is arranged reasonably, there is no contradiction at all. For example, if your acting skills outside are recognized by the audience, and you come back to play a drama, it is also a good promotion for the theater.
Nine, as an outstanding student in the human arts student class, can you combine your own learning experience and think that you need to work hard to train young actors?
Feng Yuanzheng: Performance is an empirical discipline, especially stage performance.
The older the stage performance, the more valuable it is.
Look at the teacher Yang Guixiang on the rehearsal field of "Tea House" in the past two days. As soon as he came up, there was a play, and there was a gap between the actors and the actors.
Teacher Yang's acting is very good. When she speaks, all the people in the corridor stand at the door to watch her act.
From this perspective, acting is really an experience.
I am very concerned about young actors participating in variety shows. The reason I care is what kind of variety show they want to participate in. Even some variety shows that are performance-oriented will mislead the audience.
I once said that if the audience thinks that they can become a good actor through variety shows, this is a terrible thing, and it is misleading the audience, then why do we want to play in the show?
What are you doing for 4 years in film school?
Right?
In three months, an actor will become famous on one season of variety shows, and he will be able to act. This is impossible.
Because he needs you to do morning exercises, year after year, day after year, shout out your voice, make your voice, do spelling exercises, and say your lines clearly.
A reporter interviewed me two days ago and asked, "Do you guys really need a microphone?" We really don't. This may be the only one in China.
I am not against the microphone, because the microphone can convey people's emotions very clearly sometimes, but the drama should keep its originality.
We are not fighting against modernization, we are trying to maintain the charm of drama. Isn't the charm of drama just a form of sound stage?
Whether the voice is good, the lines are good, the delivery is clear and unclear, the expressive power of the body, in the performance, there is no performance where the sound stage shape comes from, right?
Wu Gang: Actors need to work in all aspects, not in one aspect, but in all aspects.
First of all, we must love life. Life is the embodiment of all aspects. As an actor, we must love life.
During your years in Renyi, when were the happiest and the least happy?
Pu Cunxin: The happiest thing is that I can still perform, which really makes me happy.
It's really hard for me to judge myself when I can't perform.
Of course, I also like to play. I write and draw at home, and a horse accompanies me.
Probably the most unhappy thing is being manipulated by others to do things that I don't like.
Coordinator/Reporter Guo Jia
Text/Reporter Han Shirong Li Zhe
Recording arrangement / Li Songchen and Wang Zhanyi