President China Eryi talk about children's drama development: in the original efforts to have the responsibility and feelings
Each of the children in the summer, it is also the most busy Chinese children's art theatre. This point, Yin Xiaodong in 2014 from the National Peking opera company vice president positions up to China Eryi Dean after deeply felt. From the opera "old" to the art of the "small", a large span and through four years of footsteps, Yin Dean's got something to say.
Author: Wang Xiaoyang Yin Xiaodong
Yin Xiaodong (Chairman Dean, Chinese International Children's Art Theatre children drama society China Center)
On a hot afternoon, reporters came to the Wangfujing children's Theatre, the theatre at the upstairs office saw Yin Dean, he had just finished the Ministry of culture and tourism will be returned to the theatre, is the computer to write a speech. Yin president accepted the reporter's interview, he just took this from that meeting, the children went full four years.
Section Chinese children's drama has been influential in the international
Reporter: Yin Dean, to see you before the interview in Chinese -- Eastern Europe art cooperation forum speech, you mentioned in his speech, in 2017, the school and parents pay attention to children's play a higher degree
The performances of 15 thousand and 700 games, it is now a children's drama in the period of rapid development, and China Eryi as the National Children's theater only, if you feel a heavy burden, but also a great responsibility.
Yin Xiaodong: Yes, when I Eryi of this four years, more obvious feelings.
Now parents pay more attention to aesthetic education, to bring the child into the theatre, the theatre has become an important part of daily family education. We live in this life is limited, can not see more life and experiencing more life, but the drama provides people understand the world a window, through a different play to experience different life. So parents realize more and more good drama will convey certain values and ideas, can tell a child what is good, what is bad.
From the school perspective, the past is no school aesthetic education system, art education is mainly singing and dancing and art, but now many school drama education into classroom teaching system, put it into the category of art education. We started from September 2014, to participate in the Municipal Education Commission of the "insider" (higher education and social resources to participate in the development of physical and aesthetic education project, the primary school) to the school classroom drama education. In the process of school children are particularly welcome, particularly fruitful.
Reporter: 7 month will start the "eighth China children's Theatre Festival", "Chinese children's Theatre Festival has a certain international influence, it can be said?
Yin Xiaodong: of course. I am from fourth China children's Theatre Festival to the art work. The former leader of the theatre eight years ago founded the brand is still very forward-looking. I may take the kids to the park or to eat McDonald's children's amateur life, but now is not the same, look out from the theater ticket will be able to play a lot, a month ago, the tickets are all sold out, this is not eight years ago.
The drama festival is evolved from the excellent children's drama performances, the original is the hope in the summer from acting for children, is a relatively simple performance, after the development of a drama festival, gradually joined the rich and colorful activities, both repertory performances, drama also has open days, workshops, seminars, drama the salon, forums, children's summer camp, as well as for the special group of public welfare activities. From the participation, it started in China Eryi dominated the play, some small amount of domestic and foreign troupes participate, development this year eighth has more than any previous size. The previous seven sessions, a total of 21 countries and regions of the 177 troupes have 301 plays, 1443 performances, the audience of 1 million 60 thousand people. This year the five continents of the world repertoire gathered in Beijing, 38 children's theater groups in 16 countries and regions of the 61 sets of repertoire, will give 229 performances, the audience is expected to 160 thousand people.
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Last year the nineteenth session of the International Theatre Institute (ASSITEJ) in children and adolescents) meeting, voting delegates hold the right to vote for the China unsurprisngly 2018 ASSITEJ art conference. This conference will be held during the festival this year, there will be hundreds of delegates from all over the world around the idea of the "future" theme, artistic exchange and research in Beijing. The past is everywhere we do Drama Festival repertoire, but different now, a total of 56 countries and regions of the 426 plays for children's Drama Festival in Chinese this year, because the hold time limit, finally selected only 17 programs in art conference.
On the more than 40 day of the festival, there is a plate is the "BRIC countries children's Theatre Festival", which is the BRIC countries children's drama League after the establishment of the first exhibition held by Chinese. So, the festival can not only see the development of China children's drama, can also see the status changes of Chinese children's drama in the world and play in the international children's drama influence. The Chinese children's Theatre Festival is held during this ASSITEJ art meeting may be a sign, that is Chinese children's drama increasingly closer to the center of the world stage.
China to children's drama in the original work
Reporter: you just introduced the current development of children's drama, but in the benign development of the situation, there is no need to wake up and face the problem?
Yin Xiaodong: the development of the situation is indeed very good, but I also feel a bit of fear. Statistical data for several consecutive years for each channel show that compared with other art categories, children's drama performances, the audience, box office revenues are up, so in the booming development, what do you have better things to give their children? This is the "forced", in "forced" our children's drama creation. Because the market demand continues to grow, but also have a lot of good children's drama market, children's drama threshold is very low. Think of a children's theater than do a ballet, opera, Symphony Orchestra will be much easier. Such a good market is actually not easily won, but if not careful, do not mind, once in the content or form of performance problems, is particularly large in this industry because of the damage, the children can choose more cultural and entertainment lifestyle.
Reporter: from the current children's drama creation, how should we in the original work?
Yin Xiaodong: the adaptation of foreign fairy tale in the children's drama creation is accounted for a large proportion, Green fairy tale, the works of Andersen, it is a classic, you can play adapted. But it does have a homogeneous, "61" everywhere to play "Snow White", the quality of performance is uneven.
I think the children's drama creation must be diversified. Chinese Eryi for decades in the creation has been adhering to the traditional culture, foreign classic and realistic themes are simultaneously, but the creation of realistic themes is the most difficult most lacking. At present, the children's drama performance market is the age of the market, the real to the upper grades of primary school, into the theater opportunity is not too much. But we can not forget the children of this age. I told an American peers, he said, Chinese old let us look at the performance of traditional culture China children's drama, we know Chinese traditional culture is very long, but we want to see the child China life today works reflect. But this rarely works, this is not a regret.
In recent years we have been looking for the creation of realistic themes breakthrough. Last year our drama festival, according to the Cao Wenxuan novel "energy-saving" performance in the 1990s, beginning of reform and opening up a rural youth to city life, to look after the kids are very touched after reading, Cao Wenxuan very excited, said the play is full of grief. This work is aimed at the audience is young, but the children of this age if the organization is very difficult to have the opportunity to enter the theater. So completely rely on the market to promote this type of literature is very difficult, this is the ideal and the reality of embarrassment.
Reporter: there is a question to ask you, now the children are very happy, their life is full of sunshine, happiness and suffering is the lack of education, parents may not agree, but children's drama is also should show the suffering?
Yin Xiaodong: I was talking to a foreign colleague exchanges, he said that children should not only face the suffering, even in the face of death, children's drama creation should be open. I often say that the drama has always been our understanding of the world enlightenment life window, this window is beautiful spring, there will be miserable conditions. Sunshine and happiness, should become the main tone of children's drama, but let the children accept a little suffering education in the process of growing up is necessary, it will let the child establish a healthy personality, the future of the world and life better. In fact, this is one we can expand children's drama creation subject matter. Now our creative vision is relatively narrow, it is quite a pity. Our work is to adapt to the needs of the audience, but also has been exceeded, in addition to crouch down to talk with their children, and sometimes stood up to lead their children to go, this is the children's play and adult drama is not the same place.
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Children play must have responsibility and feelings
Reporter: China Eryi of children's drama public performances, such efforts persisted for decades, this road will continue to go on?
Yin Xiaodong: do children play must have responsibility and feelings. The first is the responsibility of social responsibility, is to have more conscience, not mercenaries. Then we have to enhance national cultural responsibility, artistic quality responsibility. We performed abroad when the curtain call, the audience often prolonged applause, foreign audiences respect for the arts, are from the training, if he had not had nourished by art, art will not be very sacred. I sometimes told colleagues that the theater, the theater is not a playground, this is a temple to the theater to sometimes Hi, but sometimes is to enjoy the quiet, to the stage of people the same fate.
The other is the feelings, we should know how to love their children. China Eryi for decades, there are sixty or seventy pure public performances each year, has traveled to all provinces and autonomous regions. Chinese Eryi old artist Fang Jufen, Qin Kun, even the German branch of the generation, until Xu Yajun and young people now, all insist on all kinds of public welfare activities. Xu Yajun's annual drama festival are rental to sun village children to the theatre to the theatre for many years, has formed a public brand. This year we launched a new public brand "make no longer a distant frontier, along the border, for four to five years to go through the border town, so that children can play at the frontier.
Source: Beijing Evening News