From the sadness of doing theater, to the National Theatre in charge of artistic creation of the vice president, just two years time, Tian Qinxin once again power, metamorphosis into the people's voice for the people, for the times of the mission of the director - the National Day Party, "Struggle! China's Children", the deputy director of the "Magnolia Award", the best TV variety show "China in the Story", the national realistic and revolutionary historical themes of stage art key drama national opera "Poverty Alleviation Road", the playwright, director ...... she used her consistent Chinese aesthetics, literary and artistic style to create a new generation of Chinese opera. She used her own consistent Chinese aesthetics, literati style to tell the story of the main theme, but also to fulfill her own art "depicting all beings" small ambition.
The first real participation in the TV program is extremely tired
But the state is happy
Although before also did not titled planning, but this is the first time that Tian Qinxin really involved in the recording of the TV program, stay up all night, morning and night is a common thing, exhaustion, but the state is happy. "Each is a fresh story and characters, the second season stage will also appear different geographical environment, such as Zhong Nanshan this issue, the stage will appear on the moving train and the Tianhe Airport, as well as from Wuhan to Beijing scene change, including that period of time frequently appeared in the news of Wuhan Jinyintan Hospital, these memories of the scene will be used in the big screen and the actors' performances to restore. "
Looking back on the first season, Tian Qinxin made no bones about it, "I loved every episode. But the most difficult is the episode of the "horizontal", that period is to Qian Xuesen as a prototype to show the birth of the atomic bomb, in order to present the tower explosion base, we are the first time on the main stage to change the scene, the original we are hoping to make the theater choreography more simple, but this time had to change the scene is really a subject, so difficult to complete. After this experience, to the back of the "Long Live Youth", that is pleasantly difficult, from the classroom to Tiananmen Square, to show the gathering of youth, and now look back do not know how to accomplish at that time."
"The second season of the story of China is bound to show the story of the anti-epidemic, one of the episodes is called "Youth in the Battle", we specifically invited the Peking University to aid the medical team in Eritrea, 90, to teach the actors professional knowledge, including how to quickly put on and take off the protective clothing and the process of resuscitation, I'm very concerned about the professionalism of the actors, and even including the choreography and the equipment, after the film and television shooting To restore some scenes, the authenticity of each detail and verbal authenticity is particularly important."
Hu Ge used his performance to illustrate the realm of
"The play is delusional, but I'm serious."
As the National Theater's vice president of business affairs in charge of artistic creation, when then-president Zhou Yuyuan gave Tian Qinxin the task of producing China in the Story, she not only didn't push back, but was even a little excited. Excited, "With the medium of television, I can finally get in touch with the world. But I didn't expect that the real one is back to the front line, into a state of work, TV workers are very hard, and only young people can stay up all night to complete."
The second season opened during the National Day this year, Tian Qinxin felt that many stories are very exciting, "such as the eighteen holes village", belonging to Hunan Xiangxi Tujia and Miao Autonomous Prefecture, but in fact is the location of the gathering of clouds, Guizhou and Sichuan, living in this region, the way people talk will be some strings, so that the actor said this, I actually a little worried, but Wang Lei's final presentation, I can only say that I was shaken by the actor."
"China in the story" in addition to the subject matter of the story itself positive energy transfer, star actors have also become a creative point of view. "Hu Ge is the actor who makes me respect. In fact, before "Never Fade Away", we first worked together on the 70th anniversary of the National Day party "Struggle! Children of China'. One of the dramatic segments of '*** and the Love of the Country' showed the story of Guo Yonghuai, the two-bomb and one-star patriarch, who pledged his life to his country and used his body to protect the precious documents at the moment of a plane crash, ultimately leaving all the data inside the briefcase intact. Originally a recitation, it was later made into a dramatized rendition, which touched everyone who watched the scene of him holding the briefcase with his guards when the plane was bumpy and 400 meters from the ground. The nobility of a person's quality, if only performance, it can only be similar, the greatness of man is reflected in the critical moment of the moment, whether to throw away the ego, the achievement of a great soul. In order to perform in that life-and-death moment, Hu Ge practiced falling on the flat ground again and again. He has no idol baggage, most actors are sensitive and even a little bit neurotic, but Hu Ge is not, he is very calm and collected, and he always accepts the director's words in a very quiet state. In addition, he is also an actor who seeks truth. In "Never Fade Away Radio", when acting out the scene when he was separated from his wife, she asked him if he could swear to his child that he was not allowed to lie at that time, Hu Ge's performance was that he didn't answer, but embraced his wife. After Hu Ge proposed such a treatment, I didn't hesitate to say yes. An actor who can think like this, who can interpret his love for his wife in a better way, actually has a lot to do with his own honesty, and he interprets the realm of 'the play is delusional, but I am serious' with his performance."
Every time he shoots a new story
there's a kind of thrill of landing from the void
Every time he shoots a new story, it gives Tian Qinxin a kind of thrill of landing from the void, "It's a kind of stimulation of the external environment that makes people forget about their fatigue."
For the second season of China in Stories, Guan starred in a real-life Mongolian steppe-themed story about an orphan raising 28 orphans in a saga of national unity. "During filming, two horses would come on stage and urinate on the stage, and the scene was filled with the real flavor of the steppe. Guan Xiaotong is an authentic Beijing girl, but in order to get close to the characters, this time, then we have to speak Mongolian Mandarin, and about the Mandarin of this ethnic group, we actually don't have an ear tone, it's hard to capture the characteristics of the key words of the language, but the actors are really fantastic, Guan Xiaotong and Zeng Li very quickly into that language system."
Tian Qinxin also commented on several actors who impressed her in a way unique to the director, "It can be said that Never Fade Away is Liu Tao's debut in drama, and her explosiveness is very good. Originally, I thought she was just a very bright big girl, but I didn't realize that she was explosive and quick to commit. She has performed skits in the army before, and her stage image is very good. Wu Zhanyan has no idol baggage, nor flattering, the usual state is to sit in the corner to memorize the words, young but very hardworking, dedicated, even if the shooting to 3:00 a.m., she can cry every time, but also took the initiative to ask for the makeup to be made plainer again. Xin Boqing in the "Phoenix Qin" in the role of the school principal speaks a mouthful of Hebei, Ni Dahong's 'Zashanjiao', although life is still that wilting, but the camera before the control is very strong, and Guo Tao's "ordinary world", "eternal life in the fire" Liu Ye and Chen number, as well as Li Naiwen, Tu Songyan and Yan Ni, are impressive, and Li Guangjie, is really getting more and more impressive. And then there's Li Guangjie, who is really getting into shape. The actors are really very precise about this 60% film and 40% dramatization of the performance."
Drama and television combined
From creativity to completion requires a complex process
In Tian Qinxin's view, if there is no experience as the general director of the drama "China in the story", it is unlikely that she would have had the opportunity to do so many realistic works in such a short period of time in the state language, "Each episode is half an hour of 'big drama'," he said. The 'big drama', but also gave me the opportunity to try film and television shooting, the young people of the column group is very dedicated, the requirements are also very strict, from the script presentation to the cultural interviews, the completeness of the text and the logic of the interviews are excellent."
Drama and film combination, previously recognized model when the British National Theatre drama film, "we have been exploring the drama can be combined with film and television where the point? We've been exploring where theater can be combined with film and television, and where the perspective of film and television can come in. We all like the way NT live (National Theatre of Great Britain's drama film) records the stage with film, adopting the way of drama performance and cinematographic filming method. And China in Stories is broadcast on a TV platform, so this approach is completely new to me. The kernel is a solid theatrical story, and the significance of keeping the right and innovating is to complete a solid and logical story, and to see the caliber of the Chinese theater actors and the director's grasp of the structure in the performances. Drama itself has a strict psychological logic, and it takes a short time to weave a story together. When combined with television means, it is actually a completely different way of creation from drama, and the structure from idea to completion is more complicated, and can even be said to be a project. The way to work is, first of all, to make a story, and then the directing team needs to find a lot of information, all kinds of real and informative information, and then find experts to verify, in order to ensure that the professional terminology is foolproof. The screenwriter to establish the story after the directing team need to establish the main scene, and then composing, looking for actors, light clothing Road effect all in place, the first mass of actors in the theater rehearsals, the main actors into the read around, half an hour to present the process is actually a lot of a lot of ......"
Tian Qinxin think, from the first season to the second season, the difficulty is that many characters are contemporary and well-known, "such as Zhong Nanshan academician, we are very familiar with, we read books, read his reportage biography, searching for elements that can become a story; for example, sacrificed in the first line of poverty alleviation 'first secretary' Huang Wenshou. We also searched for stories from the material; including Lei Feng, in addition to his suffering childhood, how should we distill the spirit of Lei Feng, we repeatedly discussed what we learn from Comrade Lei Feng. We even showed his past history, for example, in order to meet his hometown Chairman Mao, waiting for Chairman Mao to get off work at Jinshui Bridge, but ended up not waiting. There are also in the fight against the epidemic in the fight to take charge of the 90s, we focus on their apprehensive heart on the plane, after all, off the plane is the battlefield, the drama is able to tell the secrets of the heart, the members of the medical team in aid of the Eritrean people look at it and say it is very touching, said the words of their hearts."
As a director, I have always been in awe of my profession
Recently, Tian Qinxin has just completed the national opera "Poverty Alleviation Road" audition in Guangxi, written and directed by her, for Huang Wenxiu, a beautiful life passed away at the age of the flowering season, the creation of Tian Qinxin can be said to be moving the real gas. "It is said that melodramatic themes are not good to do, do heroes sometimes beyond the story and characters outside of some reverie, the artistic aesthetic and melodramatic themes for integration, I think there is actually no obstacle. Before doing a play, I don't think too much about whether it's a melodramatic theme or a so-called artistic theme, I think about how to show it in an artistic form, without adding to it, it's normal and it's good. Aesthetics itself follows goodness, and miracles will happen naturally without creating them. National opera itself is a new subject, there is no one law to look for, we need to redefine it ourselves."
During the two years, the cast and crew creators had gone to Guangxi eight times to pick up, the first time to Baise, Tian Qinxin and Huang Wenxiu rubbed shoulders, and later on the 10th day of her death, Tian Qinxin went to the place where she had an accident, and at that time the road had not yet been repaired. "I had a sensation with the girl at that time, when a very large yellow butterfly flew toward us. There is a legend in Guangxi that dead relatives who miss their families will fly back to see them, and the village chief said this was Secretary Huang coming to see us. The legend is beautiful, we also with such a touch to her and 2.9 million running on the road of poverty alleviation 'first secretary' to do this play. Huang Wenxiu's working environment is not simple but humble, and the very detailed survey of three major poor households shows the meticulousness of her work. This girl is very good at singing, good-looking, smile very cute, cheerful and love to laugh, but it is such a glance will make people like the girl, to the end of the departure have not rested, very tired, poverty alleviation in the decisive year, but she did not see the decisive moment, like a paving stone on the road out of poverty. We just want to make a good story for her in line with Chinese aesthetics."
In Tian Qinxin's opinion, this is not an axiom, and she is indeed grateful to fulfill a point of honor and mission given by the state. "I hope my participation is a point of cohesion for people's livelihood and national construction. This year's 'two sessions' on the singing of the national anthem, I suddenly sour nose, this is not the Olympic gold kind of moving, the resistance to the epidemic of the hardship, the pressure of foreign forces, I can feel the country's share of hardship, artistic creation is my part, there is no reason not to do a good job. As a director, I have always been in awe of my profession, which brings me a recognition that artistic work gives me stability and security. As for the administrative work of the theater, I am still in the learning stage. The theater will focus on pushing young directors this year, and stage documentary filming is also in the process of figuring out, the times are moving forward, and offline theater art has to meet the arrival of online."