Chapter 297 Grand Theater (Part 1)

The sectarian conflicts that affected the Beijun Office of Xiling Town, Taizhou, Zhongzhou and other large areas made Ye Tao spend two months in tension and expectation. So, when he and Tan Weiming came to Danyang again, the Grand Theater had been fully completed, and even the opening performance of the Grand Theater was almost completed.

Because of the creation of Ye Tao, Tan Weixin and others, there was a rich performance form and the so-called "artistic director" position to control the progress and style of a play. In Danyang, those good people have tried to guide the same play by different artistic directors and directors, but the effects are usually completely different. After the original version of Liu Xiangyuan's troupe "Liang Shanbo and Zhu Yingtai" was launched, several small troupes have been rehearsing according to their own understanding half-playing and half-experimental performances, but from tragedy to comedy, they actually created a series of derivative dramas. In this way, while enriching the performance market and performance categories, they also made everyone pay more attention to every role in the troupe.

Se, the special function of each position. This time, the opening performance of the Grand Theater will also be the curtain call of Tan Weishi, the most recognized artistic director, in Danyang. The reason why Tan Weishi is considered the best is not only because she can always provide sufficient funds for the troupe, but also because she seems to have a unique insight, a kindness, courage and warm insight into the heart of each character. Those positive characters can be digged deeper, while those negative characters often become rich and three-dimensional in the plays directed by Tan Weishi. Among the many plays performed in Danyang, those negative characters that are often mentioned are almost all discovered by Tan Weishi.

This time, Tan Weishi had worked hard to organize the opening performance in the Grand Theater. Since the Grand Theater began planning and designing, she began to write scripts, and discussed and consulted with professionals such as Liu Xiangyuan over and over again.

"Midnight" describes the era when the Tang Empire fell apart. In the play, Tan Weishi described the various difficulties and lives of the empire at that time. He interpreted the various reasons and human nature of the empire who were still ministers of the empire and then became kings one by one, especially the founders of the four countries of Dongping, Xiling, Chunnan, and Northern Liao, which are now divided into four parts, and focused on portraying them. She concentrated the various internal and external troubles faced by the empire at the end of the empire, and various public and private conflicts inside and outside the court and outside the court, and used six-act plays to tell extremely complex stories. Not only did she want to explain the story of that year, but she also wanted to constantly create conflicts and ** so that all the audience could immerse themselves in it. She would not think that this was two-year-old.

The play was boring for a half hour. This was a night when the old empire was moving towards death. It was also a night when he led the people to a new path and a new life with heroes from various destinations. Although as Princess Yuxiu of Dongping, Tan Weishi was actually more objective in his position when writing the script, especially after learning the true story of the last prime minister Chen Jia, she satisfied that she rewrites all the scenes of the only villain in the play, portraying Chen Jia into a complex and full character who dares to bear the notorious and hopefully. For the founder of Dongping, the ancestor of the Tan family. She did not avoid the shabby nature of the Tan family at all, and the degree of artistic processing was not much greater than that of the founder of other countries.

With such a grand system, she has revised the script many times. After the script was first decided, she even had a fierce debate with Pang Rong, the Grand Secretary of Wenhua Palace, on the historical facts and artistic processing, technicality and artistic nature of the play. Is it necessary to praise her ancestors to heaven to harm the honor of the Dongping royal family and other issues. Pang Rong's insistence on "tagging for the respectful" position cannot be matched by the tradition of the Tan family that never avoided her own origins. In fact, the only role of such a fierce debate is that everyone suddenly discovered. It turns out that the eternal child in everyone's mind, the eternal beautiful and lovely embroidered princess, also has such persistent, persistent and rational side. She has grown from a little girl to a shining young woman now, dares to love and hate, and dares to express her opinions.

In fact, from the beginning, Tan Xiaopei, as his father and the king, fell in love with the drama. Whether in terms of intention, form or content, it is probably not an exaggeration to say that this drama can set an example for the Birthday. In the whole script, almost every line can withstand pickiness, and every conflict will show the power of history. If it weren't for knowing the time and energy that Tan Weishi had put in and every process of the progress of the script, Tan Xiaopei really couldn't believe that such a script was actually from his own daughter. After Pang Rong could not let Tan Weishi make concessions, he did what he was most willing to do as a king and a father: pay. All the funds were allocated from the funds of the inner government, and all other needs. As long as he could help, Tan Weishi spoke.

From script to performance, there are countless problems to solve. Such a big drama, as the premiere of the Grand Theater, is astonishing as the high-quality drama. Even though Liu Xiangyuan's troupe has always been under the personal care of Tan Weishi, it is still a bit powerless in such a play that is full of dramatic tension from the beginning and requires more male power. Fortunately, Tan Weishi is the princess whom all the children of aristocratic families look up to. After all, she is now full of all the reading astronomy, and the pillars of other small troupes are temporarily relegated by coefficients.

Come and play roles. Some people who have played guest roles in the plays because of their fun, but now she has worked in various ways to borrow them from her. After three performances, when will this "Midnight" be performed again? I am afraid that the next generation of professional actors will grow up under the promotion of Dongping's prosperous performance market. Settings, stage design, lighting, costumes, makeup, etc. are all about preparations. The whale oil used to test the lighting effects during experiments, rehearsals and rehearsals alone have thousands of pounds.

There are as many as 2,900 actors and staff who participated in "Midnight" before and after. As for the money spent openly and secretly, no one can count it. In addition to the accounts, there are various supplies and equipment supported by all parties. Just Ye's workshop used a set of crystal slides and two sets of spare slides for the entire play to match the characteristics of "Midnight" and the price cannot be counted. This is not just a problem of crystals and artificiality. How many telescopes and scopes could these crystals be used to create? How many can they produce?

Profit? No one can count it. Many of the materials used to make clothing are top silks that have been stored in the palace for many years and have not been used before. The clothes masters are also masters supported by the royal family, and these are not calculated based on prices. As for Tan Weishi's relationship, especially the temporary secondment of court officials to act, this kind of favor is even more terrible. Although we know that this is not a good thing, everyone still let Tan Weishi get everything to her and achieve her perfect curtain call.

Even after Ye Tao came to Danyang and had to meet Tan Weishi as soon as possible, he could only go to the Grand Theater. After inspecting the final project of the Grand Theater and adjusting some detailed acoustic components in the performance hall, Ye Tao became the first time that the entire play of "Midnight" was uninterrupted.

Dividing a complete drama into details that will be interrupted, a line, an action, a chanting pursuit of perfection and performing the entire drama as a whole is completely different. Without intermission, no interlude, no applause and cheers, the actors themselves seemed to be one with the role they played for two and a half hours. The passion, regret, sorrow, anger, and hatred seemed to have really happened in everyone's heart, and when the performance ended, and after the entire audience that was empty and not sitting in a few people, everyone suddenly realized that they had done what they could not do in normal times, and the emotions they burst out and the words they performed were far beyond the level of rehearsals. In the group portraits of the end of the empire, everyone was so few active.

At the end of the rehearsal, the actors returned to the dressing room at the same time, while slowly cooling down their emotions, while reflecting on their performance, savoring the feeling of being one with the role just now, and thinking about how to do better in the next performance. Everyone has the same idea: Ye Tao and the people around him have too little applause... When the entire audience burst into thunderous applause, when many of them burst into tears for the content of their performance, what kind of achievement would it be, and what would it feel like?

At this time, the performance staff began to review the incomplete details, the lights that should be lit but not lit, the sets that were in a hurry, the costumes and makeup that looked a little wrong, and how unreliable the crystal reflectors used to prompt the actors in front and behind the stage...
Chapter completed!