Drama experts talk about: The Tea House is sealed in the classics, it is burial for it

Drama experts talk about: “The Tea House” is sealed in the classics, it is “burial” for it
According to the release of Meng Jinghui’s “Tea House”, which caused controversy, the audience’s incomprehension and the deviation of the creator’s expression, we want to discuss why Mr. Lao She’s “Tea House” has been difficult to adapt for so many years?When dealing with classic adaptations, should we have a certain attitude?Sauna, Yewang interviewed the famous drama critic Lin Kehuan, well-known critic, scholar, modern history researcher Xie Xizhang and professor of the drama department of the Central Academy of Drama Ma Wenqi. These three scholars expressed their views.1.Why is “Tea House” difficult to move and difficult to adapt?2.Do you have any suggestions for adaptation?3.What attitude should we have when dealing with classic adaptations?Lin Kehuan: Can be criticized, but first of all respect 1.A part of “Tea House” in Chinese drama is unshakable, not to mention the best or insurmountable, at least this work has reached a certain height from the perspective of realistic drama.The entire stage of “Tea House” can be described as excellence. No matter from all aspects, Jiao Juyin used too much effort. The space he showed on the stage was very symbolic. At that time, no one in the Chinese commentary mentioned these things, but foreigners were extremely sensitive.They have thought of the stage of Chinese drama. Realistic drama can come to this stage. Many of the performances on the stage have a symbolic meaning, turning an era of a group of people into the survival situation of humanity.In addition, Lao She’s language ability is difficult to find among current writers.Taking only the first act as an example, several important characters, each of which only speaks two or three sentences, can actually make the audience remember it firmly.In addition, there were many tea drinkers who had not said a word for nearly an hour, but he could sit on the stage and the audience did not feel uncomfortable. The two actors held back for 40 minutes and said “will!””That’s why after seeing the art tea house, Western directors commented that” there are many corners in Taiwan, and there are no mass actors. “Therefore, it is difficult for current directors to have such great intentions.1958 edition of the Beijing People’s Art Edition “Tea House”.The picture provided by the theater actually discusses why the “Tea House” is difficult to move. It is a very essay. The fragility lies in whether the creator’s vision and way of thinking can reach the same height as Lao She. This is not something that can be done at once.Lao She wrote “Tea House”. In fact, he was still full of sympathy for these people after the sunset and the decline of an era.Regarding the more substantive things in “Tea House”, in fact, the later editors are basically difficult to empathize.2.The adaptor must have an awe-inspiring attitude towards the classics, an attitude of taking it seriously, and an attitude of learning to talk to the former, how can you really produce a dialogue, you can surpass him and break through from his perspective.It is one thing that “Tea House” can be adapted, and it is another matter. If a classic drama can only be done like a human art version, it is completely wrong.3.The audience must watch the play carefully, respect the writer, and also respect the director and consider the actor.You can criticize him, but first you have to respect him, this is his creation, you can say that the performance is not good, but you must obey him.Respect and criticism are two different things.Too many of us love to comment casually, very few can go to read a novel, and very few can go to a drama quietly.Everyone loves karaoke now, nobody listens to it carefully.Many people now say that there is no real dialogue with the writer.Xie Xizhang: The adaptation should be based on the adaptor, not the original version of Meng Jinghui’s “Tea House”.Photograph by Sun Jingyao 1.”Tea House” is difficult to adapt, because the work itself expresses more mature things. New creators must express their own new ideas in the works, use the artistic elements of this work to express new content, how to re-apply these elementsIt is not easy to combine and adapt something new.In addition, the audience has a habit, it is not easy to change after accepting a thing.The audience has been influenced by a work for a long time. When you give him something new, he may not accept it. Therefore, whether your adapted work can convince the new audience depends on the creator.2.In fact, on this issue, I published my opinion on “N Possibilities of Adaptation of Famous Books” a few years ago. Among them, in “Regarding the Theme of Creation”, it was pointed out that “the adaptation should be based on the editor, Can’t take the original as the main body “.The editor chooses a work for adaptation, and believes that he must have reached a certain spirit in the original work, at least agreeing with the existence of a certain spirit in the original work.However, his artistic expression of the original can be completely different from the original, and he must respect his thinking and understanding of art.At the same time, the choice of the original work, the way it is adapted, including whether it is faithful to the original work or not, or partly loyal to the original work, must consider market factors.Because in today’s era, only through the channel of the market can works be delivered to consumers.Therefore, the masterpiece is not the destination of the adaptation, it is just the starting point for all adaptations.3.The most important feature of adapting classic dramas is to reach a consensus with the audiences it faces.If the work cannot reach a consensus with the audience, the work must have failed.From the perspective of the audience, of course, we should have a more open attitude to welcome the birth of new works.However, from this point, it is actually difficult to ask the audience, the audience is not required, but slowly cultivated.As far as classic adaptations are concerned, none of them is perfect. As an adaptor, there is no natural rationality, and there should be a need to be criticized.Ma Wenqi: The biggest editor is Li Liuyichuan’s “Tea House”, the spirit of the times.Li Yan photo 1.If the world view of Lao She ‘s “Tea House” is still the one you uphold, it will be more difficult to adapt it because you are looking at the world from the same angle. In this case, you may not be able to surpass Lao She from thisWhat the angle measures.Well, the current adaptation of “Tea House” is not a difficult thing at all. After all, the way of looking at the world has changed. Observing from Wang Chong’s performance version and Meng Jinghui’s performance version, they are all an old world in “Tea House”.The expression of “broken” becomes “broken of the world”, so who is behind this narrative?Obviously, the biggest adaptor is the spirit of the times.Lao She’s “Tea House” has a historical materialism behind it; and where the historical materialism retreats, nihilism and desperate historical views will cover the site.2.According to the adaptation proposal, all I can suggest is that no matter how it is adapted, it must come out of my heart.The coronation of a classic in a work, although there is the problem of discourse power, this power is generally held in the hands of theoretical critics, academic researchers, and educators, but it is almost decisive to determine whether a work can become a classicIt is still the mechanism of time selection. Ultimately, it is time that determines a certain work to become a classic. Time considers the energy implanted by the author in a work. The energy of a classic work is definitely full, which meanswhat?First of all, the adaptor must have a proper amount of consideration in front of the classics, whether the knowledge (perception, emotion, thought, beauty, etc.) can surpass the author; second, the time-shifting, if the paradigm of era cognitionChange, the general adaptor will produce a new interpretation of the classic, in this case, the adaptor should consider how to let the classics pass through history to better care for the present.Therefore, no matter under certain circumstances, we must be cautious about the adaptation of the classics.3.In addition to the mandatory provisions of the copyright law, the performance history of “Tea House” must be a continuous adaptation history, which is neither shifted by the will of Lao She nor by the will of artistry; similarly, this is neitherIt is shifted by defending the will of the literary classics, and not by defending the will of the performing canon.Why do you say that?Because the will of those people in front of me, even if they are tough, as strong as steel and iron, they will all be “turned into softness” under the influence of time.The theory of philosophical hermeneutics allows us to express a reader’s consciousness in the interpretation of the meaning of a work-the work is only an “unfinished product”, which can only construct meaning in the reader’s reading; at the same time, the theory also allows us toThe meaning of the work reflects the time consciousness-no reader is beyond time, and his “Density” determines the “limitedness” of the interpretation of the work.It is this simple truth that determines the history of the adaptation of “Tea House” has just begun. Whether it is the “big move” in the Meng Jinghui-style text, or the “careful thinking” in the performance of Li Liuyi and Wang Chong-style, it all stillJust just started.”Teahouse” was born until now. The text says that Lao She created classics, and the stage said that arts and crafts created a model. This is nothing, but if you think about it, “Teahouse” will be stored in the classics of the play.In the paradigm of the stage, it was really “burial” for the “Tea House”, which is completely kind of doing bad things.Sauna, Night Net Editor Liu Zhen Tian Ai Ni proofreading Zhai Yongjun