China News Service, Beijing, September 29 (Reporter Shangguan Yun) The turbulent plot, vivid and meticulous narrative logic... Recently, the 2022 version of the stage play "Fifteen Days in Two Beijing" has attracted the attention of many drama lovers .

  It is adapted from the novel of the same name by Ma Boyong, and is also one of the repertoires exhibited at the Beijing 2022 Lao She Theatre Festival.

  Can the 3-hour performance of this version of the stage show present the core of the original story?

What are the difficulties?

In this regard, the stage director Zhao Miao shared the process of creating and rehearsing and his views on the art form of drama in an interview with a reporter from

Director Zhao Miao.

Photo courtesy of the organizer

From 700,000 words to "3 hours"

  "Fifteen Days in Two Beijings" originates from a true record about Zhu Zhanji in "History of the Ming Dynasty". The length of 700,000 words, the starry night galloping over 2,200 miles away, and the continuous reversal of the plot... make this work a One of the "magical works" in the hearts of book fans.

  The content of the novel is huge, which brings difficulties to the adaptation of the stage play.

The 2022 version of the stage play "Fifteen Days in Two Beijing" is about 3 hours long, and Zhao Miao was once caught in the dilemma of choosing the plot, "but we will try to fill the stage with the 'god' in the original work, and let the characters in the play ' The soul' is attached to the actor."

  When Zhao Miao first read the original novel, Zhao Miao thought it was a suspense novel. After careful consideration, he felt that it actually wrote a story about growth, trust, and fate choice, "So I think that the adaptation must be able to transfer this feeling to the stage. superior".

  He strives to find the connection between the two art forms, opera and literature. "The stage play is a live art, and compared with movies and literature, it is a shortcoming. To make the drama carry more literary content, it must be Take advantage of its presence."

  Therefore, when creating this drama, the main creative team including Zhao Miao set several principles, "First, the main core of the story cannot be moved; second, the drama is hypothetical, the emotion is real, All our tricks are to let the audience know it's fake, but to evoke the association of the real scene in the heart."

  He gave an example, such as the treasure ship that the prince rides, which is huge in reality, but may be only two feet long on the stage, "It is to create this kind of dreamy and virtual performance on the stage, which may be our adaptation from literature to stage. a general direction.”

  From the perspective of the script, the 2022 version of the stage play "Fifteen Days in Two Beijing" strengthens the suspense and fast-paced story of the story.

"Many times, the transitions on our stage are very fast. To surprise the audience, we can't let everyone get distracted in the theater." Zhao Miao explained.

The opera element is one of the highlights

  Judging from some performance clips, as Zhao Miao said, the 2022 version of the condensed stage play "Fifteen Days in Two Beijing" is more dramatic and impactful. The change of the set and the combination of virtual and real multimedia have realized the magnificent time and space in the play. shuttle.

Actors perform clips from the 2022 edition of the stage play "Fifteen Days in Two Beijings".

Photo courtesy of the organizer

  "A good work of art should pay attention to people's inner world. Rather than creating a realistic world on the stage, we want to show the audience the inner confrontation and growth of the main characters in the play, and outline their inner world." Zhao Miao said.

  "Opera element" is one of the highlights of this stage play.

He mentioned that, for example, the music used in the play includes traditional Chinese music such as opera, as well as electronic drums in contemporary theaters, etc. In terms of music, tradition and modernity are reunited in the play.

  Traditional cultural elements are the soil from which this stage play draws nutrients.

During the rehearsal, Zhao Miao hoped that the actors would learn the traditional way of acting, study Baixi, juggling, etc., and use some performance movements, "they can bring a kind of strength and texture to the performance".

  Fighting drama draws on some performance techniques of traditional Chinese opera, including the use of weapons such as knives, swords, spears, etc. The actors will learn from their daily training and finally use them in stage plays. in the performance.

  "Traditional culture supports our stage aesthetics. I think when everyone sees this stage play, they will sigh 'good China'." At the same time, Zhao Miao strives to be innovative in performance, "so I hope the audience will watch it. Afterwards, he said, hey, so modern."

What is the purpose of drama?

  Not only the use of opera elements, but also from the perspective of the actors' "spoilers", "226 props", "37 scenes", "up to 3 seconds to change clothes", etc., are the characteristics of this stage play.

  After three previews at Beijing Tianqiao Art Center, the 2022 version of the stage play "Fifteen Days in Two Beijings" will start its first tour at the Langfang Silk Road International Cultural Exchange Center from November 12th to 13th.

After that, he will go to Shanghai Grand Theater, Nanjing Jiangsu Grand Theater, Shenzhen Binhai Art Center and other places to tour.

  Zhao Miao has directed many plays, including the 2022 version of the stage play "Fifteen Days in Two Beijings".

Summing up his experience, he felt that "the biggest purpose of drama is to enter people's inner world, not just stay on the visual."

  "That is to say, you need to impress the audience. For example, if you watch a movie and feel good, and you are moved beyond description, this is a good work." He explained, "I look forward to the performance shown in "Fifteen Days in Two Beijing" this time. Love, family, etc., can touch the audience." (End)