If the more than 30 years since the reform and opening up of the economy have been a reflection of china’s leading world climate, china’s dramatic visualizations have to some extent reflected and shared the culture of the world. It is a serious topic to reflect on how the director, who is the central leader in the theatre and visual world, subsides in the battles of the masses, such as the forest and the fish dragons, seriously reflects on the moral and personal responsibilities of the times, not only by establishing his aesthetic and theoretical qualities with writings, but also by developing his own aesthetic qualities。
In other words, in addition to being more experienced, more productive and more productive, the world’s directors in the era of the festivities are not only far from leading directors abroad in terms of theoretical formation, academic construction and institution-building, but also from the ancients of our country, from the time of the nation and from the first half of the new china. However, if directors are not able to become thinkers and theorists in the arts, they will not be able to think about it for much longer。
♪ play the show and show the world ♪
In the drama world, directors' anxiety is growing. The director of chen ji yi, who runs a series of operas and operas, is anxious to say that we are too busy ourselves as directors, with no energy or even theoretical preparation to sum up the system of chinese play. It is hoped that the national theatre will send young teachers to document, analyze and, at least, leave a piece of information for exploration, following us on the rehearsal grounds of the opera。
Similarly, thanks to his efforts in recent years, the director of peace has directed some 60 shows of more than 30 different types, such as " face-to-face " and " pan-gin-lin " , running around the great theatres almost every year. Director zhiyukun also continues to walk in different theatres and even television dramas, directing about 50 works, such as "the cammy" and "shaw." many of the famous plays such as " women in insignia " , " the wife " and " the house of life " , which cao tsao directed, make it difficult to reach even in the theatre. Many famous plays, such as " land and land " and " west box " , by yang xiaoqing, are presented on a classic stage。
No one has denied the hard work and even genius of these famous directors, who have always been real gold directors or award-winning professionals. Despite some discussions in the beijing press the previous year, in the hope that a few directors, composers and dancers would not be present at the country's major art and theatre festivals, those discussions were essentially a reminder of goodwill for the diversity of art and its intergenerational transmission。
More importantly, after all, personal energy is limited, and after all, it will not be long before the sun is red. If these well-known directors do not take on a few plays in a multiplicity of practices, they will be able to study more and more in a quiet manner, summarize their success patterns and the many regrets left, even a drop in the air, which is a solid stepping stone for the rise of chinese drama directors。
Compared to the theoretical depth of professor xu xiao chung's series of articles on the basics of directorship, the characteristics of director art and directorship, in addition to the directors of famous plays such as macbeth, per ginte and the sandtree chronicle, it may not be appropriate. In particular, mention should be made of marco, director of the opera cao cao and yang shui, who, after making a milestone in the play of an era, has so far had a fascinating reading of the theory reflected in the director's statement。
The “troika” and “a gentleman” among the predecessors of chinese directors born in the early twentieth century should be paid a high tribute。
The triangulations are acha, li and zheng ying, who are actually all the same from the zhui watch director system. Acha has also prepared a famous play entitled " three ts of torah " , " the battle of the red wall " , " white hair " , " red lights " , as well as novels such as " a collection of plays " . The great works of white snake, red lights and kawatsu, bashan talents, and lee's 50 years of performance experience and 50 years of play director experience, were also directed by li. Zheng jiuqiu, in addition to the directors of many famous plays such as mu guiying, yang men general, kyushu and xie jin ring, has specifically promoted the institutional and conceptual development of a modern play director system。
A gentleman is huang sai, who has obtained a master's degree from cambridge university. He is the master of the world of cinema, play and ballet, and his director, fake phoenix, is our first film translated into english and exported abroad. Not only did he direct more than 100 films, but he also promoted “theatrical writings” in the "drama of the conversation" and other narratives, comparing the different play systems of melanfan, stanislavsky and brecht, which are the source of the so-called “the three theaters of the world”. When xiao bernard wrote for him, “china, you should be strong; the future drama should belong to china.” as a result, huang also sought to create and summarize a chinese-style, ethnic-style play and director's style。
Of course, it's worth thinking about, not director, director, but director, who was born in the late nineteenth century。
One is mei lanfang, who melts into a cup of green clothes, flowers, wudan and quinqué girls, and creates a new business for the kyoyo drama; he actually reflects the director's many functions in the preparation of traditional plays and in the creation of new fashions. His oral history, such as the 40 years of life on the stage, was both an experience of performance and a colour of directorship, which largely underpinned the structure of the melange performance system。
Two is sinfang zhou. Zhou sinfang was also considered to be a curator and a curator. In 1925, he was the director of the opera, and since the beginning of " han liu bang " he was self-directored to form a curator, guide and performer. In addition, zhou sinfang is good at taking stock of his artistic creation, and his book is not only the theoretical core of the hai-kyoming drama, but it is also making research in qianjin an ongoing process. If melange's performance features place greater emphasis on the beauty of romance, then the art of charismaticism places greater emphasis on the trueness of the performance experience and the personality of the person。
Three is ouyang zing. He was involved in the production of almost 100 plays and plays and 13 films. In addition to ouyang's chorus, he has a life-long commitment to the construction of the national theatre system。
The film director is unable to go up the stairs without a theoretical voice and aesthetics
Of course, the mediocre of today’s theatre director community in terms of theoretical construction and the lack of confidence in the establishment of a chinese school director system are also reflected in the film industry。
We cannot exaggerate that, in the six-generation spectrum of chinese film directors in general, two generations of people from the time of the people, zheng jung zhengqiu and others, were the extensioners of the silent film era, as well as the outreachers of the vocal film eras, such as cai chusheng, stoneshan, femu and sun yu, all of whom had their own ideas and series of practices on chinese national films。
In the series of four generations of film directors in the new china, the ethical pursuits based on the general values of the country's society, represented by xie-jin and xie tsing, zheng yong-suk, zhang yong-suk, huang yi and wu wu-sai, among others, have made a difference in practice and theory. It revolves around the concept of “films” established at the beginning of the twentieth century, mainly from the exploration of films by four generations of filmmakers, where the film industry has been chorused and how busy it has been. The concept of “modernization of the film language”, “divorce of the film and theatre” has given rise to a different expression than that of the priest. Zhang xiaoxiang believes that cinematography should combine narratives, theatre literature, narration literature and polygamy, and also solemnly says “don't forget literature”. According to zhou, li dao believes that china should focus not only on montague, but also on the long lens. The debate between the ro yan jun and the pastor on the nationalization and modernization of chinese films has also been refreshing。
It's not like i don't know. The great directors of the world of peace, who appear to have been busy trying to build chinese directorships in theory, have a different sense of purpose and responsibility, and the former directors have been making, writing and summing up their ideas about the creation of chinese directors. This has little to do with the amount of reading, the quality of writing and whether or not to remain in the world. This is not just a question of writing a few articles and writing a few monographs, it is a difference between self-consciousness and spontaneousity, it is also a distinction between globalization and national leadership, and, of course, between a sense of purpose in the struggle for national art and a sense of profit in the service of rice。
The most significant and unfortunate is the fifth generation, represented by zhang liang and chen kaig, as well as the sixth generation film director, represented by zhang yuan, wang xiao jun, jashu ko and others. All the films they create have gained either greater or lesser screening rights and a great deal of honour in the international arena, but they have more or less lost the theoretical voice and a sense of aestheticism in chinese director schools. This period of theoretical aesthetics of the film was all the more reticent and silent. The number of awards of authority, the number of marriages and the number of shows, do not mask the theoretically too pale and the serious stickyness of school-building。
It is for this reason that zhang's wanton expansion, collage of exhibitions and full hunting of chinese folk about poverty and backwardness, the closure of distorted chinese folklore have been met with widespread dissatisfaction with western audiences. A leading chinese director with a sense of genius should also have a deep respect for his country, a country of five thousand civilizations, which is a minimum prerequisite for the creation of chinese directors’ school leaders。
It is also for this reason that chen kaig, who has always been a thinker among chinese film directors, has felt more like an epic picture of his " yellow land " , " grand conservator", "big pilgrim", "fun moon", "king qin" and "melanfan " . His series of dialogues with wang anhui on wind moon, which seemed to be a film discussion, actually had the meaning of transcending film, promoting culture and building schools。
It looks forward to the conscious exploration, serious reflection and strengthening of the chinese school of learning based on the world's cinema. Despite the potential for progress, the lack of ambition may be a self-imposed constraint on filmmakers and even on china’s culture. When did we hear that zhang’s team is not only looking for a novel’s film story, but not just thinking about the pompous functions of the two people’s character, but also seriously thinking about and actively pursuing its ambitious mission of developing with chinese directors and world film。
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