Source: Surging News
Author: Li Qinyu
Recently, in a Chinese opera competition, the host said the embarrassment living conditions faced by a young actor who contributed to the wonderful performance.Care about the development of this drama and the phenomenon of the growth of young actors.Soon, the incident rushed to the hot search, which also led to the true problem of the root cause of the "opera decline".
He Saifei's speech clarified a long -term misunderstanding to the public: the dilemma of traditional opera has nothing to do with "lack of money".As early as 2015, several policies issued by the General Office of the State Council of the State Council of the State Council of the State Council clearly proposed that "the guarantee incentive mechanism for improving the opera art performance group system and mechanism, opera workers rooted at the grassroots level".Whether it is financial investment or art fund support, the state's support for traditional opera is not weak at all.
In this case, why are some excellent young opera actors who can't get care and help, and why is the current development of traditional opera still unsatisfactory?He Saifei means that many opera courtyards are only concerned about how to create a drama that can compete for awards, because once a prize can be won, they can apply for national funds and get national funding.After being supported by funding, naturally, the college will also devote more energy to the competition for the award.
The direct result of this vicious cycle is that the high cabinet of many new repertoires at the end of the competition has not only caused a waste of the national huge amount of funds, but also a far -distance distance between ordinary audiences, especially opera enthusiasts.It is not difficult to understand why the growth and cultivation of young actors are not valued -it has no direct relationship with whether a show can win a prize.
Speaking of this, the root causes and solutions of the problem are clear -traditional opera must be good -looking to have more audiences; with more audiences, more excellent actors will be needed; market demand hasThe life and treatment of actors are naturally guaranteed.In the final analysis, it is necessary to allow excellent traditional opera works to enter the market and establish a close connection with the audience.
So how can we understand He Saifei's loud call -"protect" and "basic survival" to the artists?Obviously, the attention point should not be whether the young actors have "preparation", but whether they have given them full space and display stage.Otherwise, even if there is a preparation, a guarantee, and not an excellent work, what is the benefit of the development of traditional opera?He Saifei herself said that she went to make a TV series because she did not have a play in the group. "It can be seen that more opportunities for young actors to appear and let them meet the audience is the best "protection" for them.
Of course, in the current context, traditional opera, film and television, variety shows and other popular culture are "micro".But it does not mean that traditional opera is "dim" -the traditional opera is not good -looking, and the right to choose should be given to the audience.He Saifei's speech can stir up thousands of waves, which is enough to show that there are not many people who care and love opera today, but as she said, "spend so much money to lift a play, and after getting the prize, put it in the warehouse., I ca n’t see the people, what about the show? Where did I go? ”
Since it costs a lot of manpower and material resources, why not make traditional opera be "see" by the people?Is this development model really conducive to the inheritance of traditional opera?He Saifei has put out the question, and everyone is looking forward to an answer.
