A classic drama "Returning to the Snowy Night" that is soaked in oriental poetry and endless sadness is rejuvenated. This drama, written by the famous dramatist Wu Zuguang, premiered at the Beijing People's Art Theater 68 years ago on April 27. Starting last night, "Returning to the World on the Snowy Night" returned to the Capital Theater with a more aesthetic attitude towards the times under the guidance of the Beijing People's Art Theater's "Classic Remaining Repertoire Repertoire Repertoire Repertoire Repertoire Repertoire".

  This classic new scheduling drama is directed by Feng Yuanzheng and directed by Yan Rui. It integrates the freehand beauty of opera and reproduces the love and struggle between the famous actor Wei Liansheng and his concubine Yuchun from a contemporary perspective. Feng Yuanzheng admitted that in this interpretation, love is the eternal theme, and the word "beautiful" has become an artistic pursuit throughout the whole process.

  "We have been looking for Wei Liansheng." Feng Yuanzheng recalled that he met Liu Heng at a meeting a few years ago. At that moment, Feng Yuanzheng felt like Wei Liansheng. Liu Heng was a young martial arts actor at the Northern Kunqu Opera Theater. Yang Fengyi, the director of Beikun, was also present. She asked Feng Yuanzheng, do you dare to use it? Feng Yuanzheng said, "Art is the same. As long as he dares to accept this role, I believe he can be trained better in our rehearsal hall."

  From a heroic martial artist on the opera stage to a famous actress who was deeply trapped in the tragic love on the opera stage, the huge contrast between the characters gave Liu Heng a new understanding of the understanding of literary opera. He reminded himself not to always raise the door before he spoke, but to be calm and restrain Wu Sheng's sharp eyes, and to have a real relationship on the stage, and to give Wei Liansheng a hope of breaking away from the world and living for himself in his heart.

  Lu Lu, who plays Yuchun, injects a different kind of flexibility and tension into the role with her dancing skills. She integrated the openness of the dance with the restraint of Kunqu Opera, complementing Liu Heng's calmness and charm, and jointly created a pair of poor people who leaned against each other and saved each other in the wind and snow of fate.

  Yan Rui regards the re-arrangement of classics as the confidence of the theater, and it is also an opportunity for the director to cultivate his own internal skills. He guided the audience to think about how to avoid wasting this life in the torrent of the times? How should Wei Liansheng and Yuchun, who are in a cage, break free from the shackles of fate? And do we, who are in a prosperous era, have the courage to break free from mediocrity? Or do you have the courage to ignite the fire of hope in your heart when the wind and snow are swaying?

  On the basis of respecting tradition, Yan Rui actively explores the contemporary expression of Chinese drama, absorbs the poetry of classical opera, returns to the essence of the drama, and uses minimalist dance styles - door curtains, one table and two chairs to create an elegant and simple artistic conception, presenting the beauty of opera rhyme that combines virtual and reality and the beauty of Chinese classical poetry.

  This round of "Returning to the Snowy Night" will be staged until May 11.

  Beijing-based reporter Zhao Yue (Wechat Beijing)

[Editor in charge: Susan]