In the sixty-one years, there are only five editions of “Tea House”. Isn’t this worth pondering?
The scolding of Meng Jinghui’s “Tea House” was unusually loud and continuous. The general outline said: This is not Lao She’s “Tea House”.And never the original spirit, follow the shadow on the stage of Meng Jinghui.It is to return to the most traditional linear narrative level. Although Meng Jinghui added a lot of popular pop culture elements and other Western classic texts to highlight the heterogeneity and disharmony in the form of collage, the most important thing in the “Tea House” script isThe relationship between the characters and the three-part structure of “starting, inheriting, and transferring” are still kept intact.Does “Tea House” belong only to Lao She?In other words, is the targeted version of the drama “Tea House” all the original authors?Those with a little common sense in the research of arts and sciences can answer these two questions.The answer must be “No”.But why is common sense always difficult to recognize, and emotions are most easily vented?I believe that most of the audience’s comments are simple, sincere and heartfelt.The love of tradition and the pride of “Chinese classics” have become the new mainstream aesthetics in recent years.But there is a question worth discussing, what exactly is traditional culture?The more specific question is: What is the Chinese drama tradition?61 years since the premiere of “Tea House”, only five versions have been born in mainland China.(Including director Jiao Juyin’s version of Beijing Arts).This is insignificant compared to the index of Western dramatists such as Shakespeare, Chekhov, O’Neill, etc., but it seems that with the index of Chinese dramatists, such as Tang Xianzu and Cao Yu, it is not too much.Is “thinking of the ancients” the fate that Chinese dramatists cannot escape?Whether the essence of “thick ancient and thin modern” is “thick ancient”, or is it still biased, this prejudice has always been in the appreciation of literature and art, but in the overall history of mankind.However, the “Teahouse” is particularly controversial.Perhaps it is because this script used to be the “apocalypse” where the path of Chinese drama goes.It blends the perfect height reached by the Stanni system and Chinese classical opera, making it difficult to overcome to repeat it and becoming its temptation.When Meng Jinghui’s “Tea House” was performed in Avignon, he also encountered bad reviews from the French media, and the “imagined image of ancient China” was completely shattered.The West is not a geographical concept. Among the different audiences in contemporary China, this double reference system is also vividly shown through the Tea House.The need for exoticism in the West overlaps with the simplified understanding of traditional culture by contemporary Chinese audiences.In this incident, a new feature has attracted attention: many young people have joined the “Meng Meng” camp.So, my heart is sad.The voices of young people are amplified and fermented through social media on the Internet. In the face of works that they do not understand, the undoubted, straightforward, and high-cold contemporary art world and the luxury industry have repeatedly bowed their heads, but that is after all the commercial field.If the drama adaptation is also subject to this disaster, it is really the same as the world.The essence of the stage is communication, and cultural exchange is the key topic of current cultural work.But the exchange is not only between different countries and regions. The true meaning of exchange is person-to-person. In this regard, we have more work to do.Jiao Juyin in 1958, Xia Chun’s “Tea House” resumed performance in 1979.The five editions of “Tea House” that have been performed by Beijing Arts and Crafts. Jiao Juyin, 1958, Xia Chun Edition. March 29, 1958. “Tea House” written by Lao She, Jiao Juyin, and Xia Chun was performed in the Beijing Capital Arts Theater.Including Yu Lanzhi, Lan Tianye, Tong Chao, Zheng Rong, Hu Zongwen, Ying Ruocheng, Huang Zongluo, etc. This position and the stage version are the classics of the audience since then.In 1979, “Teahouse” resumed its performance and continued its first performance period. In 1992, it waited for a farewell performance of the “Teahouse” of the next generation of actors.1958 performance version.Image courtesy of Beijing Renyi.In 1999, Lin Zhaohua ‘s 1999 edition of “Commemorating the 100th Anniversary of Mr. Lao She ‘s Birth”, Beijing Human Arts rearranged “Tea House”, Lin Zhaohua was the director, and then the new actors Liang Guanhua, Pu Cunxin, Yang Lixin, He Bing, Feng Yuanzheng, Wu Gang and othersThis edition of “Tea House” is the only innovative adaptation of “Tea House” by Beijing Renyi itself.Lin Zhaohua used Lao She ‘s literary script instead of Jiao Juyin ‘s performance script, and regrouped some of the plots deleted from the original work; the stage interrupted the enclosed space, and two old Beijing streets appeared.The scene change is not closed, and the whole scene change process is directly presented to the audience.At that time, Yi Liming, who was the designer of the drama and dance, designed the tilted teahouse crooked building.Handling, preserved Director Shen’s plays, reflecting the moral of the original play.This edition of “Tea House” has caused a lot of controversy and discussion in the society, with mixed reputations.In 2005, in order to commemorate the 100th anniversary of Mr. Jiao Juyin’s birth, Beijing Human Arts once again restored Jiao Juyin’s version of “Tea House” by Xia Chun. Lin Zhaohua was then the director of rehearsal.Lin Zhaohua edition in 1999.Image courtesy of Beijing Human Arts, 2017 by Wang Chong, “Tea House 2.”0 “In 2017, two adaptations of” Tea House “appeared, breaking the situation that” Tea House “has long been the only Beijing version of art in China.Wang Chong moved the performance location to the middle school classroom, 44 actors (mostly non-professional actors), 11 audiences, the overall content became the story that happened on the campus today, called “Tea House 2.”0》.In this drama, Wang Lifa is a female monitor, Erqin Qin becomes a teacher, Li San’er becomes a life committee member, Wu Xiangzi, Song Enzi becomes a disciplinary inspection committee, General Pang is still the general manager, Liu Mazi becomes yellow hair,Tattooed “bad girls”, only 55 people watched the official five performances in the end.Photograph by Wang Yuanqing in 2017 Li Liuyi Chuanhua Edition In November 2017, on the 50th anniversary of the release of the “Teahouse” script, Li Liuyi and Sichuan Renyi jointly launched the Sichuan version of the “Teahouse”.There is not much adaptation of Lao She’s script. Most of the characters’ lines in the play are directly converted from Peking to Sichuan dialect. Mr. Lao She’s humor is well reflected in Sichuan dialect, restoring an idle and lazy “Sichuan Tea House””.In the Sichuan version of “Tea House”, every scene is different.The first scene is the realistic background of the old Sichuan brand. The square table full of bamboo chairs, from dance design to character scheduling, is like a tribute to Li Liuyi focusing on Ju Yin.Under the above, the second and third acts are more like the style of Li Liuyi. The white cuboid space divides different performance areas and is filled with cluttered chairs. The actor does not step down after finishing his performance.,, sitting on a chair or steps, become a spectator.The 2018 edition of Meng Jinghui by Li Yanshe is divided into the adaptations of the previous versions. The Meng version of “Tea House” is a subversive adaptation with Meng Jinghui’s label in terms of expression and stage style.The main visual of the stage is overlapped by a giant wheel 19 meters long, 16 meters deep and 11 meters high. The huge metal structure accompanies the rhythm of the heavy metal band. Many audience members can see in the performance of the actors. In addition to the works of Lao She, they also include clothRein Hitt ‘s poems, fragments of Dostoevsky ‘s novels, and Heiner Mueller ‘s “Hamlet Machine” script, etc., the extension of the proposition discussed in the proposition extended to the fate of mankind, completely out of the original erabackground.The play became the first work in mainland China to be invited to the Avignon IN Theatre Festival.Editor-in-chief of Sun Jingyao: In October 2019, the eldest daughter of Mr. Lao She and Shu Ji, a researcher of Lao She, made a brief comparison of the five publicized editions of “Tea House” at the International Academic Conference on “Lao She and Chinese New Literature”.Here she authorizes Sauna Night Network to publish excerpts from the attached seminar.I have read the five performance versions of “Tea House”.Some of them have only been seen once, some of the details may be memorized incorrectly, and some of them may even be difficult to say completely.I am not a drama expert, but here I want to try to talk about my feelings and thoughts after watching the five dramas “Tea House” and make some brief comparisons.Please criticize and advise.One, about the comparison of the stage. Mr. Lao She once said in the article “Gossip of My Seven Dramas” that he did not know the difference between the novel and the drama when he wrote the first script “The Mist”.He said, “My eyes are completely on the pen tip, and I don’t feel that there is anything like the stage at all.”Afterwards, the play” The Face Problem “still eats regardless of the stage’s losses .” Obviously, he thinks that taking the stage into consideration is an important factor for the success of the script creation.But considering the stage does not mean that it can be controlled.And the text ranking stage is another way of expression.The stage includes performances, sets, lights, props, sound effects and many other audiovisual factors. Different presentations of these factors can make the same script produce completely different effects.Before the stage, the script was literature.After being on stage, the script became a drama.It is the stage that makes the script a play.The stage is important.Leaving the stage research, the drama literature research is incomplete.The stage is actually a space where each script is left unfinished for future generations to continue to create.The tolerance of this space seems to be infinite.Comparing the stage processing of the same script, you can experience many things, including different interpretations of the script by later generations, the development of literature and drama, the mark of social trends and social issues, and so on.A comparison of the stages of the five versions of “Tea House” is a good example.The comparison of the stage can be carried out from the venue, dance beauty, clothing, performance, sound effects and so on.For example, in terms of venues, also in the theater, “Tea House” moved from the indoor scenes of Jiao Juyin and Lin Zhaohua to the layout scenes designed by Li Liuyi.The Meng Jinghui version is still in the theater, but the stage shows an indefinite location and age space.And Wang Chongban walked out of the theater completely, and the ordinary classroom is the performance venue.In terms of dance style, Jiao Juyin is a combination of dramatized realism.The dancing beauty is strictly faithful to the background of the times provided by the script, and each character debuts in the form of drama from the center of the stage set.Lin Zhaohua’s set is crooked and fragmented, reminding viewers of the decline and demise of the old era in a symbolic way.The Li Liuyi edition opened to reproduce the style of the street tea house in Sichuan and ended in a completely abstract dance design.Wang Chong’s performance is in a classroom where there is no difference in peace, which is very original.The style seems very realistic, but this kind of realism has nothing to do with a tea house.The dances in the previous versions are basically static, while the Meng Jinghui version is dynamic.Meng Jinghui’s version of “Tea House” seems to have expanded the context of “Tea House” infinitely through the huge runner on the stage, through digital processing, projection and on-site live video shooting.Comparing the five different Tea Houses, you can see that the stage is gradually breaking away from the setting of the script.This is in line with the changes and developments in the technology and concepts of theatrical stage art in China and the world.Mr. Lao She said: “The drama is the most difficult in literature and art.There may not be a dramatist in the whole century of the world, because the genius of the dramatist not only continuously understands life and art, but also must understand the know-how on the stage.”Now that the playwright is gone, the script will not change, but the stage continues to evolve.The old “Tea House” as a text seems to still hold the know-how of the stage today.This allows the text “Tea House” to continue on the new stage, and the new stage injects a continuous vitality into the drama “Tea House”.Second, about the comparison of languages From the perspective of language, there can be many comparisons.For example, compare the way of speaking lines.In this regard, the five “tea houses” have their own characteristics.The two editions of the artistry use Mandarin in Beijing accent; the Li Liuyi edition uses Sichuan dialect; the Wang Chuang edition speaks Mandarin in the campus; and the first act of the Meng Jinghui edition is a roaring confession from beginning to end.The lines are actually part of the stage.No more description.From the perspective of language, I would like to compare the literary language, that is, the difference between the five versions of the performance book and the original text.About the original book, the performances of the five “Tea Houses” have one thing in common, that is, there are no excellent lines to change the original book, but they have been increased or decreased in the plot.Do more subtraction and less addition.For example, Jiao Juyin Edition reduced some plots in the third act, ending with Director Shen ‘s appearance and the last number of treasures.The Li Liuyi version is similar.If the memory is good, the Wang Chong version should have deleted all the digital treasures.Meng Jinghui’s version changed the number of Noble to hip-hop. Although there was no change in the script’s lines, only the excerpts of the original text were used.A lot of new content is interspersed between the three acts.The original text in Lin Zhaohua’s “Tea House” has changed the least. The end of Lin Zhaohua’s version has restored the appearance of Director Shen.Among these five editions, in addition to Jiao Juyin Edition has become a classic, which will make me always unforgettable, Wang Chong Edition impressed me very much.This version of the stage was moved from the theater to the classroom. Although the classic version of human art was completely subverted from the stage perspective, there were few language substitutions.The students in school uniforms said the lines of “Tea House” from beginning to end.Language and characters and environment seem to be very uncoordinated, but acting and acting, everything becomes natural and easy to understand.The girl king’s shopkeeper seemed to be the class leader, the gray coat became the student cadre, the second son became a bully who bullied the weak . Unconsciously, the sentient beings on a typical middle school campus appeared in front of everyone.All kinds of bullying in the original book naturally became contemporary school violence.If a similar performance takes place in a factory building or corporate office area, it may completely give the audience a completely different new feeling.Director Wang Chong made me realize the most vivid practical significance of the text from “Teahouse” that I have never felt before.The Meng Jinghui version should be the most subtractive among the five versions, and the most additive in terms of content and expression.This version is interspersed with Brecht ‘s drama fragments, Dostoevsky ‘s monologues, micro-spirit fragments, original Kang Shunzi monologues, impromptu performances by actors, songs and dances and so on.The “Tea House” text takes less than half of the time.What confuses many audiences is that this edition puts the first act of “Teahouse” together with a large section of Brecht’s plays one after the other.The styles of the two paragraphs are diametrically opposed, the lines are irrelevant, and the performance forms are different.I didn’t fully understand this part of Brecht, but this paragraph seems to be a dialogue between Lao She’s work and Brecht’s work.Mr. Lao She watched many contemporary Western dramas during his time in New York. He had met Brecht.Does Western drama, dramatists like Brecht and their theories have any influence on Mr. Lao She’s drama creation after returning home?If reading a book in the UK promoted Lao She to become a novelist, I am afraid that the drama he watched in the United States may lead him to later create a representative drama “Tea House”.In general, after thinking of director Meng Jinghui, combined with the experience of German scripts, the collective creation of actors and dancers, through a no-taboo expression, “Tea House” was extended beyond the three eras involved in Tea House and “Tea House”.Meng Jinghui’s perspective seems to be borrowing from “Tea House” to explore Lao She’s thinking when creating “Tea House”.Meng Jinghui himself said, “This is a visit to the spirit of Lao She.”Perhaps this edition is an adaptation far away from” Tea House “and seems to be very close to Lao She.This edition allows me to see Lao She’s works in the eyes of pioneers.There seems to be a lot of room for the adaptation of Lao She’s works, many possibilities.Director Meng Jinghui opened a door without taboos.In addition to comparing the stage and language, the five versions of “Tea House” have a lot to compare.No matter which aspect, these five versions are gradually moving from realism to non-realism.Various factors of the drama have gradually shifted from near perfect harmony in Jiao Juyin to breakthrough, collision and confrontation.By watching the performance of the fifth edition, I realized the development of the world’s drama theory, the rapid changes of the times, the audience’s aesthetic trend, and strong practical significance.I feel that contemporary dramatists are paying more and more attention to Lao She’s works.Their vision is becoming more and more international, and Lao She’s works in their eyes are becoming more and more three-dimensional; their interpretation of Lao She’s works is becoming more and more diverse and deep, and they are more and more inclined to expand on non-literary levels such as interaction and philosophyDiscussion on Lao She’s works and Lao She’s spirit.Some of the drama explorations represented by the five editions of “Tea House” have been highly praised, some have caused controversy, and have even been replaced by some people.These dramatic works may not be able to be unanimously approved by the audience, but these are being considered seriously and seriously in the international drama industry.I hope that these dramas can also attract the attention of the majority of Lao She’s literary researchers, and I hope that literary researchers and drama researchers can communicate with each other.I wish Lao She’s research to continue to develop in various fields, inspire each other, and achieve more and more fruitful achievements.Editing: Sauna, Night Net Liu Zhen Editor: Tian Niei proofreading Zhao Lin Drafting: Gao Junfu proofreading: Zhao Lin Comprehensive review Writer: Yan Ping Shuji Article finishing: Wang Qing Photo caption: Beijing People ‘s Art Edition Tea House stills provided by the theatersignature.

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