On May 1, the dance drama "Wing Chun" ended in Russia. So far, the dance drama has performed more than 200 times in 49 cities around the world. Since its debut in 2022, "Wing Chun" has won both box office and reputation both at home and abroad. In the play, characters from the two eras achieve emotional resonance; outside the play, another bridge is built between the audience and the excellent traditional Chinese culture.

　　How to implement such a connection? The creative motivation of "Wing Chun" comes from the kung fu movie complex that we never forget. From "New Longmen Inn" and "Huang Feihong" to "Ip Man", these screen lights and shadows have become memories of a generation. Long before the creation began, the crew made a special visit to martial arts masters in Guangdong and invited teachers to the rehearsal hall to teach them personally; consulted people in the film industry, and consulted a large number of reports, papers, and monographs in the film museum, mainly conducting special research on Hong Kong-made co-production films in the early 1990s.

　　The concept of "Wing Chun" is "light". In the vast sea of ​​information and the local field trip, we built a film scene in Shenzhen in the early days of reform and opening up: a difficult start, a determination to struggle, people from all over the world and the figures of chasing light and dreams.

　　In the home letters of dreamers in the 1990s, there was the excitement and confusion of coming from the countryside to the city, and the deep attachment to the hometown. In those faded ink marks, we see the "Dachun" in the play holding her knees and listening to the waves, and also see the "Master Ye" who is blown by the sea breeze. The protagonist of the play, "Dachun", is a light-chasing boy based on the film worker of the "Lighting Village" in Yanling, Henan. The image of the director comes from the written records of the initial stage of the Shenzhen Film Studio; there are also the conscientious old tailor and the Tea Shuijie... The lights of countless ordinary people gather into beams; the dreams of countless ordinary people sing together in spring. Therefore, the title of the play "Wing Chun" also has a deeper connotation beyond martial arts - "There is a martial arts world everywhere, and everyone is a "Winning Spring".

　　Not only the dance drama "Wing Chun". While the dance poetry drama "Only This Green" was performed for more than 700 times, the epic fantasy performance "The Great Qin" was performed for more than 100 times, and the dance drama "Return of Dunhuang" was performed for the national tour, looking back at the creation of these works, we have been thinking: How should artistic creation write history?

　　The profound and profound Chinese civilization is the unique spiritual symbol of the Chinese nation, the foundation of contemporary Chinese literature and art, and the treasure of literary and artistic innovation. Chinese culture has always advocated "collection of a hundred generations of missing texts and collecting the legacy of a thousand years of history." Set questions based on history and culture, and solve problems through art integration. In artistic reconstruction, we strive to achieve the expression of the historical spirit and realize the era telling of Chinese stories. "Only This Green" is a collective statue of young painters and craftsmen from the country, making the figures of seal carving people, silk weaving people, stone grinders, pen making people, ink making people gradually become clear, and evokes people's cultural memory. "The Great Qin" combines the Chinese aesthetic spirit with contemporary aesthetic pursuits, reflecting the vast historical picture. "Return of Dunhuang" is based on the Dunhuang messenger group in the late Tang Dynasty, making historical stories "live"...

　　When the showrunner and Xi Meng bowed from a distance in "Only This Green", when "Wing Chun" interprets the essence of martial arts with dance, and when the stage of "Returning from Dunhuang" tells the story of "Helong wheat is yellow, and wandering children can return home", the literary and artistic creation practice of the new era is activateing cultural genes with the language of the times. Let history illuminate reality and tell history in a realistic dimension may be an exploration direction for today's literary and artistic creation.

　　(The author is Xu Junrui, a screenwriter of China Oriental Performing Arts Group)

[Editor in charge: Susan]