Adapted from the fourth edition of Director Chat, Tea House is a treasure but not a gem

Adapted from the fourth edition of Director Chat, “Tea House” is a treasure but not a gem
Why is there only five editions of “Tea House” in 61 years, is this related to the copyright of the works?After reading the relevant laws and regulations, Sauna and Yewang learned that, according to Article 21 of the Copyright Law of the People ‘s Republic of China: citizens ‘works, their publishing rights, Article 10, paragraph 1 (5) to (The protection period of the rights stipulated in item 17) is the author’s lifetime and fifty years after his death, and finally on December 31, fifty years after the author’s death.According to this rule, from the date of the death of Mr. Lao She on August 24, 1966, the copyright of the work “Tea House” was terminated at the end of 2016. Sauna and Yewang also interviewed Mr. Lao She’s eldest daughter, Lao She LiteratureResearcher Shu Ji, she told reporters that the long-term “unique” version of the “Art Tea House” is certainly related to the above-mentioned copyright regulations, but some of it is that the “Art Tea House” is authorized to Beijing People’s Art during the authorization period rather than once.A unit in the theater authorized to sign an agreement in the form of a power of attorney in accordance with ten years (five or seven years) and completed multiple renewals, but during this period, no individual or group proposed to adapt the work “Tea House”.Shu Ji writer, even if the copyright is no longer available, but following the copyright law, the author’s family still has the right to maintain the essence of the work.(Editor’s Note: Article 15 of the “Copyright Law of the People’s Republic of China” stipulates that after the author’s death, the right to sign, modify and protect the integrity of the work shall be protected by the author’s heir or bequest.) For creators, does “Tea House” really dare to easily adapt the stage?Is it difficult to adapt?Sauna, Interview with Wang Wang, Li Liuyi, and Meng Jinghui, who have completed several stage adaptations of “Tea House”, and found him in the “Director’s Villain” published by Lin Zhaohua.Process, from their answers, we may be able to find answers to these questions.(Sort by creation time) Lin Zhaohua: If Mr. Jiao is still alive, he will not follow the 1958 version of the rehearsal of Beijing art for Turing Zhaohua. He has always felt that if Mr. Jiao is still alive, he will not follow his 1958 version.Pai “Tea House”: “Inheritance can’t be painted in red, and art must always be created. If it was the same thing four hundred years ago, and the same thing after four hundred years, Shakespeare died long ago.”Tea House” can still live intact for decades, which is a dramatic phenomenon with Chinese characteristics.One school rules the drama world, and one school rules the novel world. This phenomenon is abnormal and will not happen again.”” Tea House “is the presupposition of art, classics, this is the thing of the ancestors.Although the great guide Lin Zhaohua was brave, he also knew that the more he wanted the “Tea House” to be, the more he was scolded, and he had a lot of worries about moving ancestors.In the years around 1992, Lin Zhaohua and Lin Zhaohua almost “mixed together every day.” “In those years, I was the leader of the institute. He talked to me for several years and told me to rearrange” Tea House “. I saidI have a condition that I cannot follow Mr. Jiao’s rank.He didn’t dare to agree, and by 1999, he agreed with me.”At that time, Lin Zhaohua had already discovered that from 1958 to the 1980s, there were no directors in the country for more than 30 years. A theater company dared to perform the show. Lin Zhaohua wanted to be out of the theater and felt relatively free and bold.He even found Jiang Wen, Ge You and Li Xuejian, but because of the schedule issue, they were not arranged.In 1999, Lin Zhaohua rearranged the “Tea House”. At that time, he sought the personality of the theater leader and said: “It is basically a version close to the artistic realism, and a version with a stronger contemporary awareness. Tell the audience to look at the” Tea House “.row!I dare not move “Tea House” for many years, I think it is a shame for Chinese drama!After the announcement of the rearrangement of “Tea House”, an audience sent a letter expressing their support: “All the cast members have an internal heart to establish a belief-the stage art of” Tea House “is a treasure, but not a gem.”If you are shocked by the exquisite art of the predecessors and there is no breakthrough, it is simply to paint the gourd and the audience will be disappointed. “Lin Zhaohua began to think of two sets of plans, one of which was a realistic performance.From the script, basically restore Mr. Lao She’s original work.He understood that Mr. Lao She wanted to end the play with black humor. “The whole drama is a tragedy, but Mr. Lao She used a lot of humor to deal with it. This is his unique place. It is just a little how to show it in the play. It is difficult.Therefore, he felt that Wang Lifa asked whom to perform, and Liang Guanhua’s innate sense of humor and acting skills were fancyed by Lin Zhaohua. He asked Liang Guanhua not to imitate it, but to give the character something new. After that, he formed members including Pu Cunxin, Yang Lixin, Feng Yuanzheng,何冰、吴刚、宋丹丹、高东平等人的新演员阵容,并以同样的标准要求演员:“焦先生那版,人物的出场都是戏曲里的‘亮相’,给人印象很深刻.I hope the actor’s performance is ‘a performance without performance’. It is natural, very lively, and extremely expressive.This is difficult to do, and actors are sometimes not confident.”Lin Zhaohua understands” Tea House “. He feels that Mr. Lao She is familiar with the life of the inferior people. Many of the people in the tea house are idlers. This is an old Beijing drama, so on the stage he tried to find ways to show the style of old Beijing.At that time, Yi Liming, a dance designer, handed over several versions of the plan. A model was made for three months. Two 99-year-old Beijing streets appeared on the stage of the last 99 edition of “Tea House”. The local details were very real, the window frames, the brand signs, and the pillars.They are all made out of old photos, and the old version of Dasha Yang’s “Shulaibao” has been replaced with the screams of old Beijing.What to eat in any season, you can know the changes in time from the barking sound. What is more special is that nearly one quarter of the roles have been replaced by theater stage staff.After the performance of this version of “Tea House”, Lin Zhaohua listened to the audience. Some people said that the old version is beautiful. Many young people like this version, but Lin Zhaohua only scored 60 points for himself, because “there are things that continue in the past, nothing new.”.(The text is quoted from “Director’s Villain”) Wang Chong: A work is defined as unsurpassable, and it can only show that the creation is stagnant. Wang Yuanqing photographed Wang Chong’s “Tea House 2” that he thinks he created.The starting point of “0” is very simple. “It’s said that there are thousands of Hamlet in the heart of a thousand people. Why can’t” Tea House “work? In the current drama environment, certain works of art that are often established by authority have a long-term unchanged dominance. In fact, it is a very sad thing for young creators.Whether it is a picture or a drama, if it is defined as unsurpassable, it can only show that these works are stagnant in front of history.”Teahouse 2.0 “retains 100% of the original text.Wang Chong said that in a certain sense, the spirit of creation is loyal to the original.Before creating this work, he did a lot of research and found that Jiao Juyin also looked into the future. He once said that his “Tea House” is not perfect, and hopes that future comrades can create better versions.”The master’s mind, which does not regard his work as a sentence, has a great influence on me.The post-modern theater respects the original works in the same way. We guarantee that this is Mr. Lao She ‘s work, without making collages. On this basis, the director exerts his imagination and uses the director ‘s art to revive the master.”Familiar with Wang Chong’s work” Thunderstorm 2. “The people of “0” know that in both versions, Wang Chong used the camera and the scoring actor, using rap as the overall structure, but in “Tea House 2.”There is no music in “0”, even Wang Chong gave up the real-time images on the stage that he has been exploring and becoming a personal symbol.Wang Chong believes that “Tea House 2.”0” just does not use technology, but it uses a huge method, that is, the “tea house” is set in the contemporary middle school classroom.Students are no longer wearing gowns to play “Tea House” as in textbook dramas. They wear their own costumes and let them play the very real problems of bullying between students in their eyes, friendship between students and entering the school from triads.The signal and information from this work intervene, “Tea House 2.The impact of “0” is very strong: “Let ‘s imagine that when Mr. Lao She wrote” Tea House “, his heart was actually harboring a criticism of the reality of China at that time. This was based on his personal understanding of reality and on the basis of reality.Dark criticism leads his creation, such works can be wonderful enough.”So in” Tea House 2. “In “0”, Wang Chong chose to pay attention to the current educational issues and look for the factual basis of the news. For example, the program list “Zhabao” refers to a real event such as the KTV in a school in Nanjing: “We found the basis in reality., And then compare it with the original work, did I find that it was what Lao She wrote?Wang Chong feels that every time the adaptation of “Tea House” will generate controversy now, “Everyone still has a blind worship of authority in their hearts. When new forces emerge, controversy arises because of tension.”You see, we do n’t have so many controversies when we watch Hamlet, because we do n’t think of ourselves as the gatekeeper of Hamlet.In fact, the result of setting a benchmark is quite shocking. The children of university drama clubs and even middle school drama clubs are prone to fall into imitation of the rigid art of drama.”Li Liuyi: The artist should be confident, not facing art is a failure Li Yanshe Li Liuyi feels that he should admit the significance of the adaptation of Lin Zhaohua’s edition:” The Lin Tea House represents a reform of the theatre itself, but I don’t know whyThe error has disappeared. The problems here are very interesting. You can study it from the history of drama and the form of drama, but no one in China has studied it.If you have the guts to face art, our artists should be confident. Now they dare not face it. It is terrible. Of course, this is the safest way, but the most failed way for a work.”After talking about the Sichuan version of” Tea House “again after two years, Li Liuyi still feels that for any director who has a pursuit, it is definitely his wish to arrange” Tea House “because this work is indeed in the history of China’s drama for more than 100 years.It is a peak of art that cannot be overcome.But for Li Liuyi, the decision to arrange “Tea House” is not just a wish as a director, but also contains his own feelings.”I watched the farewell performance of” Teahouse “starring Mr. Yu Shizhi in 1992, including the first day I was exposed to the drama, I had to learn about” Teahouse “and I began to worship Jiao Juyin. This work is very far-reaching for Chinese drama directors.Impact.”Li Liuyichuan’s” Tea House “also covered up the controversy after it was published, including why the old Beijing teahouse was moved to Sichuan and why the performance in Sichuan dialect became the focus. In Li Liuyi’s view, this is not a mess.” The humor in Lao She’s words, thatThis kind of particularly ordinary and profound thought can be naturally connected with Sichuan dialect.The humor of Sichuan dialect, as well as the very ordinary thoughts expressed in Sichuan dialect, have great potential in Chinese local dialects.In addition, the tea house in Sichuan also has great potential. At present, only Sichuan still retains the habits of the old tea house in China. This lifestyle is very important. We now talk about reform, opening up, and modernization, but we cannot ignore a civilization and lifestyle.Continuation.”Li Liuyi believes that he is 100% compliant with literature, without making any subversive changes. He has only done one job, which is to dialectize some of the languages in the original script:” The changes were based on the language of Beijing and Sichuan culture.A conversion, not adapted from the entire content awareness and structure.For example, in the “Tea House”, the line “hard and tough” is not available in Sichuan dialect. The expression of Sichuan dialect means “sturdy”.If compared from the literature, the Sichuan version is more complete than the performance of the human artist, because I found some things that were deleted in the previous human art version and were inherent in the original script of Lao She.”From a creative breakthrough point of view, Li Liuyi feels that his Sichuan version has changed the past everywhere,” based on the past critics, academia, and even the literary and artistic creation itself, everyone reached an opinion that the second and third scenes of “Tea House”There is a problem, only the first act is world-class, but I found in the process of creation that the second and third acts are very wonderful and classic, some past concepts are misunderstanding of Lao She’s second and third acts。”Li Liuyi believes that in the past, in the second and third acts of” Tea House “, the dramatic content or the form of ownership drama:” In the Sichuan version of “Tea House”, I have attached great importance to the contents of the second and third acts. These seem to beThe very daily dialogue and expression is actually Lao She’s view and attitude towards the world, life and life, and is a very important lifeline.”When the Sichuan version of” Tea House “came out, Li Liuyi once said that” there is only one tea house abnormal “, and now looking back at this problem, Li Liuyi had new thinking:” It is indeed brought by the “Art Tea House” itselfThe pinnacle of the art has made many creators discouraged and transformed, and the academy system will also cause this phenomenon.Because in our past school group system, the head of the group will consider a question. Our group has arranged “Tea House”. How should we relate to the Human Arts Department? This is also harmful to the artist.”Meng Jinghui: Both viewers and creators should have a good living environment. Photographed by Sun Jingyao” “Tea House” is a masterpiece in my mind, no matter from screenwriter, director to actor, it is very special in my mind, from all aspectsThey are full of feelings to pay tribute to them.”Meng Jinghui had his own unique director’s vocabulary when adapting” Tea House “. He stated that his method was to decompose the work and then re-combine it. The original work is divided into three eras, taking the story as a clue, and in his work, Using emotions and imagination as clues, the current version of “Tea House” is fragmented, with Wang Lifa’s thinking, his mental journey, his pain and imagination as clues: “The most important thing in every work is actually the director.Views on the world and views on yourself.”In the play, Meng Jinghui also joined the actor’s own rap, which was created by the actor based on the original script and his own feelings, just like Qi Xi bought the dragonfly’s monologue, Chen Minghao called on the spot to play, he was telling his ownLoneliness, his loneliness is also the loneliness of all living beings in “Tea House”, the loneliness of all mankind.Meng Jinghui believes that such treatment is very important: “It is very important for an actor to put his life in the script. These are things that they can find in the script that resonate with their lives.The controversial adaptations in Meng Jinghui ‘s view are also necessary because they are connected with the thinking of this era: “There are Brecht ‘s poems and plays in the play. In 1943, Lao SheMr. once met with Brecht in New York. This was only known to me after the creation of “Tea House”. It was interesting.With Brecht’s play creation, his poems have a compassionate mind for humanity.”With regard to the handling of each scene, in the eyes of Meng Jinghui, Wang Lifa’s suicide in the last scene of” Tea House “is the magic stroke of Mr. Lao She.At the beginning of his creation, Meng Jinghui thought of Mr. Lao She facing the calm lake water at Taiping Lake for many days after Wang Lifa ‘s suicide. He sat on the screen for a whole day: “What did he think about all day?”I imagined many things from these very poetic places, and then looked back at the original script and found that Mr. Lao She’s” Tea House “reflected a very great compassion, he was desperate and hopeful for humanity.Contains particularly profound humanistic care.”Meng Jinghui said that from this point on, he slowly began to become confident, and he felt more and more at ease as he walked.Sauna, Night Net Editor Liu Zhen Tian Ai Ni proofreading Zhai Yongjun