Text/Yangcheng Evening News All-Media Reporter Huang Zhouhui
Photo/Provided by the Creative Performer
10CinemaOn the 4th of this month, the national opera “Overseas Chinese Commentary” will officially premiere in the Guangzhou Grand Theater Song Hall. The Babaylan drama is a key supporting repertoire of the Ministry of Culture and Tourism of the “Chinese National Opera Inheritance and Development Project” and the “Historical Theme Creation Project”, telling the ups and downs behind the Overseas Chinese Commendation. The drama 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 two years to collaborate in the creation and arrangement by the main creative and leading actor team and more than 200 cast and staff members in front and behind the scenes.
Cinema Stills from the national opera “Overseas Commentary”
Art presents the spirit of the national ethnic group on historical themes. Overseas Commentary is a general term for letters and palindroms sent back to domestic relatives through private channels and financial and postal institutions. It is a carrier of “convergence of letters” and is called letters across the sea. When it flourished in the coastal areas of Guangdong. The national opera “Overseas Criticism” started with the fact that Chinese worker Liang Chengru rushed to his hometown to stop his daughter from being sold like himself but died at sea. A “pplication” left by his death began, linking Liang Dong and Liang Caiyun who had to sell their daughter, mother-in-law who had been sick for a long time, Tang Youxin, the head of the Overseas Criticism Bureau, and many Chinese workers who felt the same as Liang Chengru. It demonstrated the compatriots who were loyal to Yuntian in the years of suffering, and reflected the great love of the Chinese nation rooted in the bone marrow and flowing in blood.
Stills from the national opera “Overseas Chinese Commentary”
How to make a piece of Overseas Chinese Commentary be concrete and present it artistically and humanly on the stage is a proposition for opera creation. Wang Yong, the screenwriter of the play, said: “A copy is the starting point of the story and the fulcrum of the story. This ‘Cinema fulcrum’ links the past and present life of the Chinese nation. Only by expressing human nature and human feelings can we 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 Appeal” is no longer an exhibition in the museum window, history is no longer a cold text and pictures, and the story is more humane. Komiks, becoming a light that warms people’s hearts, touches people’s hearts, and shocks people.” Top team history Komiks spent two years working hard to create the national opera “Overseas Certificate” gathered top artists in the industry – Meng Weidong, consultant of the Chinese Musicians Association, former head of the China Railway Art Troupe, and first-class composer, as the composer. Wang Yong, vice chairman of the Cinema Association, president of the National Peking Opera Theater, and first-class screenwriter, was the screenwriter. Wang Yong, former vice president of the Central Academy of Drama, href=”https://comicmov.com/”>KomiksDoctoral supervisor Liao Xianghong and former vice president of the National Grand Theater and former vice president of the Beijing Dance Academy Deng Yijiang serve as directors. The Cinema permanent director, Cinema postdoctoral fellow, young conductor Zhu Man and young conductor Fan Jie serve as conductors and chorus conductors respectively. In addition, artists such as Zhou Zhengping, national first-class stage lighting engineer, famous stage designer Ding Ding, and famous fashion designer Cui Xiaodong were invited to help. Young singer Lu Wei starred by Lu Yang, Dong Bin, and Li Bufan. href=”https://comicmov.com/”>Komiks.
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, the terrible foul of the vast Pacific Ocean and foreign countries., which brought a huge impact to the creators. The main creative team held several planning meetings in Beijing and Zhuhai. Screenwriter Wang Yong refined and processed them based on historical facts, revised the draft several times, and revised it repeatedly; the composer Meng Weidong closely linked the plot to integrate music and lyrics; director Liao Xianghong firmly grasped the characteristics and advantages of national opera, and vividly presented 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 comments” are letters from home, letters from silver, links connecting hometowns with thousands of miles apart, and symbols of commitment and faith. A “Overseas Chinese Praise” signed by a hundred people is a transmission of love for overseas Chinese, showing the suffering, homesickness and family and country of Chinese workers. Their good deeds and righteous deeds are also important manifestations of the Chinese nation’s credibility and commitments; the sea is the road of life, a barrier, and a symbol of the fate of life that is difficult to dominate.
In terms of music style, the play is deep, atmospheric, heavy and lyrical as its overall music style, with its musical characteristics and themes very distinct – using Guangdong music as the base theme Babaylan, with strong Lingnan music characteristics. The smooth and emotional melody expresses the emotions of the characters and exaggerates the emotions of the characters; solo, re-sing, and chorus, etc., structure this drama to enhance the mobility and drama of the characters; the orchestration uses a variety of ethnic Komiks 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 setting of virtual and real, and the juxtaposition of physics and psychological time and space externalize and poetically the inner world of the characters, bringing stronger inner impact to the audience.
It is reported that the national opera “Qiqian Criticism” is the first opera work created by Zhuhai Performing Arts Group in just two and a half years. It was held on July 3rd.After the audition of Zhuhai Grand Theater, it was polished again after three months. The premiere of the drama in Guangzhou has strengthened local characteristics in stage design and multimedia design, highlighting Guangdong elements. The plot setting emphasizes the conflicts in the characters’ inner conflicts and the contradictions in the relationship between the characters, and the theme is more concise and improved.