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Personally, I think Cheng Dieyi is a person who is obsessed with drama, and he is the one who can't live if he doesn't go crazy. He can be loyal to Duan Xiaolou all his life because of his master's words, and of course he doesn't like modern dramas, which seem to him to be unorthodox dramas. One is to let others pay to see it, and the other is to pay for others to see it, and the difference between the two is not a little bit different.
He said it was because he was too simple, and his mind was all about playing, not a game.
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Cheng Dieyi, modern drama is interesting, but the costumes of modern drama are a bit weird, not as good as the line, and the scenery is too real. Peking Opera pays attention to a situation, singing, reading, doing, and playing, all in this situation, wearing this body, standing in front of the set, no matter how good the thing is, it is not right. I'm afraid, it's not Peking Opera like this.
Nothing is static, just like genres, opera flourishes in genres, and eventually dies in genres, and genres themselves bind change.
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When Peking Opera was born out of Kunqu Opera, it was the result of innovation. The art form will only come to life if it keeps up with the times. Then when you enter the modern society, if you still cling to the inadequacy, you will be self-contained, and the final result will be extinction.
If you have an opinion, you can, but if you resist innovation and reform, it's your fault.
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My feeling is that there can't be a modern drama. Modern opera should be called modern opera, and Peking opera should be called Peking opera. I think it's inappropriate to say that you don't like it, it should be uncomfortable, not to mention, he is not only Cheng Dieyi, she is also Yu Ji, Cheng Dieyi who is caught in the play, Yu Ji who was born in the play, how can he adapt and accept another Peking Opera.
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One of the charms of Peking Opera lies in its singing, and this is one of the reasons why many people are discouraged. For outsiders, singing "babbling" is not procrastinating; For drama fans, the singing is quiet and tactful, and I never get tired of listening to it. In response to this situation, Peking Opera was produced, and there is no shortage of good products.
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In fact, to be honest, the Women's Army is a spoiler of that drama or something, which drama is put in, this is not ironic, this political meaning is too strong, so it is nothing, it is nothing. The things that are truly beautiful, they are all hazy and subtle.
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I agree with Cheng Dieyi that I don't like modern opera either.
Peking Opera is beautiful, relatively simple: its costumes, movements, makeup, and other appearance things are very beautiful. >>>More
There are more symbols of Daiyu than Baoyu. The basic symbol of Daiyu is a small grass on the Sansheng Stone on the bank of the Western Spirit River, because the Shenying attendants pour nectar every day, so that the years can be prolonged and cultivated into a female body, so Daiyu's vitality is very fragile, which is a basic reason why she has been sick and weak since she was a child. Her vitality is very fragile, and this is the first of her cultural genes. >>>More
Before listening to Guo Degang sing Peking Opera, I had never listened to Peking Opera seriously for more than a minute, not only because I didn't understand it, but also because I didn't understand it, and I didn't have any interest in it anyway. Since listening to Guo Degang's Peking Opera, I have a little understanding of Peking Opera, and I began to feel that the duet in "Sitting in the Palace" is very enjoyable, Zhang Yunlei's "Suolin Bag" is very good, etc., although it is still in the skin, but at least from the previous resistance in my heart to the current state that I am willing to understand.
I think Guo Degang's contribution is very great. If it weren't for Guo Degang's persistence, maybe modern cross talk would not be as popular with the audience as it is now.
Watching her and Huang Lei back then is the best TV series I have watched so far.