China News Service, Langfang, March 28th: Title: Pu Cunxin’s eyes on stage and behind the scenes: choose the good and stick to it, waiting for what comes.
Author Zeng Yue Gaokai
The three-day World Theater Day celebration kicked off on the 27th in Langfang, Hebei. In an interview with reporters here, Pu Cunxin, chairman of the Chinese Dramatists Association and a famous drama performing artist, talked about Chinese classics and foreign masterpieces, and from past drama performances to future drama education. Regarding the integration and development of drama art in front of and behind the scenes, he said, "Choose what is good and stick to it, and wait for what comes."
On March 27, Pu Cunxin, chairman of the Chinese Dramatists Association and famous drama performing artist, who was participating in the World Theater Day celebrations, was interviewed by reporters. (Photo courtesy of the organizer of the World Theater Day celebration event)
Walking to the stage, "drama allows China to see the world and the world to see China."
"Look at others and think about yourself" is Pu Cunxin's method to find the character's life state. In his opinion, drama shows the ups and downs of characters' fate through various story interpretations, allowing the immersive audience to see the rich life patterns, and then reflect on themselves and discover the world.
During his career, Pu Cunxin has not only witnessed Chinese classic dramas such as "Teahouse", "Thunderstorm" and "Li Bai" go overseas, but also participated in Chinese interpretations of famous foreign plays such as "Hamlet", "King Lear" and "Uncle Vanya". "We have learned a lot from the humanistic spirit of European literary classics and the description of characters and lifestyles. At the same time, we use our own understanding, imagination and expression methods to interpret their stories and become part of the world drama."
When talking about his observations and views on the exchange of drama between China and foreign countries, Pu Cunxin used water as a metaphor - drama is like water, connecting the world; the art and culture represented by drama will also be like water, further learning from each other and appreciating each other.
China has a vast territory and rich resources. The local customs, local customs, local accents and local sentiments have given birth to many types of operas. Pu Cunxin pointed out that while Chinese drama is exploring the nationalization of drama, it must broaden its horizons and look at the world, "let China see the world and let the world see China." This is not only to promote Peking Opera, Kun Opera and other distinctive artistic traditions to the world, but also to have a dialogue with world art and culture such as opera and musicals, to explore each other's similarities and differences through exchanges, to learn useful artistic concepts and techniques, and to gain creative inspiration and Improve the quality of works and provide a better audio-visual experience for audiences from different countries and regions with different artistic preferences.
Back behind the scenes, "We can't lose what our ancestor taught us."
Before coming to participate in the World Theater Day celebrations, Pu Cunxin had just gotten out of drama rehearsal. In May of this year, the Shanghai Theater Academy teacher's version of "Thunderstorm" directed by Pu Cunxin will premiere, once again exploring a new interpretation of this classic play.
Pu Cunxin has been paying attention to drama education for a long time. After leaving the theater, he often returned to campus and devoted himself to education.
"The prosperity of Chinese drama art also comes from the continuous efforts in the field of education." Pu Cunxin emphasized the importance of basic skills in drama education, "Every profession must maintain its own talents. What the ancestors taught us, the level The top cannot be the bottom.”
In recent years, drama has sprouted new forms of expression empowered by digital technology and real-life architecture. Pu Cunxin believes that this is very beneficial to the art of drama. But at the same time, he also emphasized that "live art can never be replaced." In a dramatic art with liveness as its unique charm, whether it is the light and charm in the eyes of the actors, or basic skills such as "sound stage form" and "four skills and five methods", they cannot be reproduced through technology and require good drama education. Inherit the cultural heritage.
He further pointed out that this kind of education not only allows young people to fall in love with drama, but also allows young people who love drama to join the ranks of drama education and cultivate a steady stream of motivation for drama creation and development. (over)