The ending of The Big Red Lantern Hangs High is that the rebel Third Mistress Mei Shan is hanged in the house of the dead.
Originally, the Chen family in the south of the country, the way to execute Mei Shan is to throw a well, compared to the film stands out in the dead man's house that conveys the arrogance of the Chen family, the way to throw the well camouflage, it seems to be more in line with the Chen family's moral appearance of the settings, the external, said to be ashamed of throwing a well, for the Chen family such a big family to speak, it is more able to maintain their very concerned about the face.
This is the first time I've seen this.
The Third Mistress was executed, and soon after, a spring breeze blew in a Fifth Mistress on time, ushering in another celebration of gongs and drums in the Chen Mansion; the ghostly Chen Mansion, with its outward prosperity, attracted in another flower; and under the grave, the person who had been killed, went deeper and deeper into the bottom of the well in silence.
Over the grave, the smiling faces of the newlyweds, amidst the lighted lanterns and the resounding pounding of feet, might be like the swirling surface of a lake, which, though not cheerful, opens the chapter of a woman's new life.
Features:
1. Musical Characteristics
This is a ballet music that is extremely rich in Chinese folk music characteristics and full of modern flavor. Composer Chen Qigang makes extensive use of Chinese Peking Opera, folk songs, folk tunes, and folk percussion, and utilizes modern musical expressions.
There is melodious duo dance music, suona and sheng solos that emphasize the atmosphere, effect sounds that mimic the shuffling of mahjong, the effect sounds of a servant's stick, the erhu and cello repartee, and the sorrowful and long-drawn-out dangling voices of the Peking Opera Qingyi. The material seems to be cluttered, but it is used freely, from one form into another form naturally and smoothly, without leaving an axe to grind.
2. Choreography
This version of the dance emphasizes storytelling and plotting, but it is also very decorative, and even draws on Chinese shadow puppetry. There are also large sections of modern dance for two in the third act, but folk dance makes up a sizable portion of it.
The solo, duo, trio, quartet, lamp-lighting group, sedan chair group, mah-jongg group and water-sleeve group dances are all very distinctive and have the dance structure of a ballet.
The duo dance in the prologue is performed by the heroine in student costume and the martial arts student in costume, which is not so much a duo dance as a woman's solo dance with the martial arts student as a prop for her activities, which is beautiful and lingering. And for the first time, four actual Peking opera performers were used in this choreography.