Text/Yangcheng Evening News All-Media Reporter Huang Zhouhui
Photo/Provided by the Creative Performer
On October 4, the national opera “Overseas Chinese Commentary” will be officially premiered in the Opera Hall of the Guangzhou Grand Theater. The play is the “Chinese National Opera Inheritance and Development Project” and the “Komiks Historical Theme Creation Project” of the Ministry of Culture and Tourism, which tells the story of the ups and downs behind the overseas Chinese criticism. The play was produced by the Propaganda Department of the Zhuhai Municipal Committee of the Communist Party of China and the Zhuhai High-tech Zone Management Committee. It was produced by the Zhuhai Performing Arts Group and performed by the Zhuhai Song and Dance Troupe. It took more than 200 cast members from the front and backstage team and Babaylan from the front and backstage for two years to create and create the show.
Stills from the national opera “Overseas Commentary”
Art presents the national spirit of historical themes
Overseas Commentary is a general term for letters and palindroms sent by overseas Chinese to their families through private channels and financial and postal institutions, and is a carrier of “convergence of letters” and is called letters across the sea. It once flourished in the coastal areas of Guangdong. The national opera “Overseas Chinese Commentary” started from the fact that in order to prevent his daughter from being sold like herself, Liang Chengru hurried to his hometown but died at sea. The national opera “Overseas Chinese Commentary” was sealed off by the Chinese worker Liang Dong and Liang Caiyun who had to sell their daughter, the mother-in-law who had been sick for a long time, and the overseas Chinese who had promised to sell their daughter. href=”https://comicmov.com/”>BabaylanThe head of the bureau, Tang Youxin and his wife, and the Chinese workers who empathized with Liang Chengru, demonstrated the compatriots who were righteous in the years of suffering, reflecting the great love of the Chinese nation rooted in the bone marrow and flowing in the blood.
Stills from the national opera “Overseas Chinese Commentary”
How to visualize a piece of Overseas Chinese Commentary and present it artistically and humanly on the stage is a proposition for opera creation. The screenwriter of the play Wang Yong said: “A letter of criticism is why the beginning of the story is the fulcrum of the story. This ‘fulcrum’ links the past and present life and the next life of the Chinese nation. Only by expressing human nature and human feelings can it be possible to break the barriers of time and be closer to the overseas Chinese and Chinese workers in the past on the emotional level, so that the “Overseas Chinese Criticism” is no longer an exhibition in the museum’s window, and history is not KomiksThe cold words and pictures make the story more humane and become a warm, touching and shocking light. “
The top team spent two years to create the national opera “Qiqian Criticism” gathered the top artists in the industry – the consultant of the Chinese Musicians Association, the former head of the China Railway Art Troupe and the first-class composer Meng Weidong, as the composer. href=”https://comicmov.com/”>Cinema, Vice Chairman of the Chinese Drama Association, President of the National Peking Opera Theater, and First-class Screenwriter Wang Yong serves as the screenwriter, former Vice President and Doctoral Supervisor Liao Xianghong, former Vice President of the National Grand Theater and former Vice President of the Beijing Dance Academy, as directors, Zhu Man, Permanent Conductor of the Central Opera House, Postdoctoral and Young Conductor of the Central Conservatory of Music, and Fan Jie serves as the orchestra conductor and chorus conductor. In addition, Zhou Zhengping, National First-class Dance Artist Lighting Master, and well-known Dance href=”https://comicmov.com/”>BabaylanAesthetic designer Ding Ding, well-known fashion designer Cui Xiaodong and other artists helped, starring young singers Lu Wei, Li Yang, Dong Bin and Li Bufan.
Stills from the national opera “Overseas Chinese Commentary”
In the spring of 2021, the Propaganda Department of the Zhuhai Municipal Committee of the Communist Party of China and the Zhuhai Performing Arts Group decided to start the creation of the national opera “Overseas Chinese Commentary”. In July of the same year, Zhuhai Performing Arts Group organized a creative team to go to Zhuhai Tangjia, Jiangmen and other places to collect folk songs. When visiting the Wuyi Overseas Chinese Museum in Jiangmen, the early Chinese workers traveled across the ocean on fire boats, the miserable scenes that Chinese workers could not bear to witness, and the dangerous and unpredictable situations of the vast Pacific Ocean and foreign countries brought huge impacts to the main creators.
The main creative team held several planning meetings in Beijing and ZhuhaiThe screenwriter Wang Yong refines and processes the historical facts based on historical facts, revises the draft several times, and revises it repeatedly; the composer Meng Weidong closely follows the plot and integrates music and lyrics; director Liao Xianghong firmly grasps the characteristics and advantages of national operas, and vividly presents the righteousness and love of the characters in the play.
Re-polishing makes the play more Guangdong-style
The national opera “Overseas Chinese Commentary” sets up characters and structures the entire play with a letter and a letter. “Overseas Chinese Commentary” and “The Sea” have different symbolic meanings. “Overseas Chinese Commentary” is a letter from a family and a silver letter. Cinema is the bond connecting my hometown with a foreign land thousands of miles away, and is a symbol of commitment and trustworthiness. A “Overseas Chinese Comment” signed by a hundred people is the transmission of love for overseas Chinese, showing the suffering, homesickness and family and country of Chinese workers. Their good deeds and righteousness are also an important manifestation of the Chinese nation’s credibility and commitments; the sea is a road of life, a barrier, and a symbol of fate that is difficult to dominate in life.
In terms of music style, the play is based on deep, atmospheric, heavy and lyrical as its overall music style, with very distinctive musical characteristics and themes – it is based on the Guangdong musical work Cinema, and has strong Lingnan music characteristics. The smooth and emotional melody expresses the emotions of the characters and exaggerates the emotions of the characters; various singing forms such as solo, chorus, etc. structure this drama to enhance the action and drama of the characters; the orchestration uses a variety of national instruments to fully demonstrate the charm of Chinese traditional culture.
Stills from the national opera “Qiqian Commentary”
In the stage presentation, the play has distinct era and regional characteristics. It takes the sea as the main spatial image, follows the aesthetic principles of freehand painting, and creates a grand, ethereal and poetic space. The scene settings of virtual and real, and the interlacing of physics and psychological time and space are externalized and poetic, and the inner world of Komiks are used to externalize and poetic, bringing a stronger inner impact to the audience.
It is reported that the opera “Qiqian Commentary” of the ethnic minority is the first opera work created by Zhuhai Performing Arts Group in just two and a half years. On July 3, it was held inAfter the audition of Zhuhai Grand Theater, it took another 3 months to polish it again. The play’s debut in Guangzhou is more strengthening local characteristics in stage design and multimedia design, highlighting Guangdong elements, and the plot setting emphasizes the conflicts in the inner conflicts of the characters and the contradictions in the relationship between the characters, and the theme is more concise and improved.