In the entertainment industry of the prosperous era, Ling Yichen, Jun Moran, and Lu Zixuan, three trendsetters from the modern world, reunite like three shining stars, determined to use their wealth of modern knowledge to usher in an unprecedented revolution in this ancient entertainment world. They deeply understand that the modern entertainment industry, refined by time and countless wisdom, contains concepts, technologies, and creativity that, if skillfully grafted onto the ancient entertainment industry, will surely give rise to a vibrant and colorful new landscape, like a spring breeze sweeping across the land.
Ling Yichen, a superstar who once captivated audiences in the modern film and television industry with his superb acting skills and unique charm, first turned his attention to the field of performance training in ancient opera. He knew that the Stanislavski system in modern performing arts, which emphasizes the actor's deep exploration of the character's inner world and authentic emotional experience, would be of great help in improving the performance level of ancient actors. Therefore, he gathered a group of actors from the opera troupes in the city and began a unique performance training course.
In the old rehearsal hall, Ling Yichen stood before a group of actors, his gaze firm and confident, his voice steady and powerful as he spoke: "Gentlemen, the essence of performance lies not in the mechanical repetition of simple actions and lines, but in delving into the soul of the character, making them feel as if they were your own, only then can you move the audience's hearts." He then used a classic opera excerpt as an example to demonstrate. He closed his eyes slightly, and in an instant, his entire demeanor seemed to transform. He became the character, every subtle movement imbued with the character's emotions and personality traits. His eyes shifted between sorrow and passion; his nuanced performance left the actors speechless.
Next, Ling Yichen explained in detail how to use emotional memory techniques to guide the performers to recall the joys and sorrows of their own lives, integrating these genuine emotions into their roles. He had the performers pair up for simple rehearsals, requiring them to focus not only on the accuracy of lines and movements, but also on the emotional exchange and interaction with their partners. Under his patient guidance, the performers gradually began to try this new acting style. Initially, they were somewhat shy and uncomfortable, but as the practice deepened, they found their performances becoming more vivid and realistic, better conveying the emotions of the characters and the meaning of the story.
Jun Mo Ran introduced modern fashion design concepts into the production of ancient opera costumes. She gathered a group of skilled embroiderers and tailors in her embroidery workshop, showing them exquisite images of modern fashion runways and various design sketches of clothing in diverse styles. Pointing to the images, she said, "Look at these garments. They are boldly innovative in their color combinations, cleverly using contrasting and adjacent colors to make the clothing more visually impactful. In terms of design, they emphasize the display of the human body's curves while incorporating various modern elements, such as geometric patterns and asymmetrical designs, making the clothing both fashionable and unique."
Jun Mo Ran personally designed the costumes for an upcoming opera performance. She meticulously selected fabrics of various colors and textures based on the opera's theme, the characters' personalities, and the plot's development. For the female lead, she designed a long pink dress made of light silk, flowing gracefully with every step. The unique stand-up collar, adorned with delicate gold embroidery, highlighted the heroine's nobility and elegance. The hem of the dress featured an irregular cut and was embroidered with floral patterns symbolizing love and beauty, making the costume even more dazzling under the stage lights. For the male lead, she designed a black and red robe, the black representing composure and the red representing passion, showcasing the male lead's fortitude and decisiveness. The robe's cuffs and collar were embroidered with exquisite dragon patterns, symbolizing the male lead's status and position.
Under Jun Mo Ran's guidance, the embroiderers and tailors meticulously crafted each opera costume according to her design concepts and requirements. When these costumes were finally presented to the audience, the entire troupe was amazed. The performers, wearing these costumes, seemed instantly given new life; their stage presence became more vivid and three-dimensional, attracting the audience's attention more effectively than traditional opera costumes and adding a vibrant touch to the opera performance.
Lu Zixuan, a director renowned in modern times for his unique directorial perspective and keen artistic perception, brought modern stage design, lighting, and sound technology to ancient performance venues. He visited the largest theater in the city, carefully observing its layout and structure. He discovered that the stage setup in ancient theaters was relatively simple, relying mainly on traditional props and backgrounds to create scenes, and the lighting and sound effects were also quite basic, making it difficult to create a rich and diverse atmosphere and emotional tone.
So, Lu Zixuan began to renovate the theater's stage. He directed the craftsmen to build a multi-layered stage backdrop, allowing for flexible scene changes according to the needs of the plot, enriching the stage's spatial sense and layering. He also introduced modern lighting technology, installing various types of lights above and around the stage, such as spotlights, soft lights, and follow spots. Through skillful control of the lighting, he could create different natural environmental effects during performances, such as daytime, nighttime, sunny days, and rainy days. He could also use changes in the color, brightness, and angle of the lights to enhance the atmosphere according to the characters' emotional changes and the development of the plot. For example, in a play depicting sadness, he dimmed the stage lights, using blue as the main color to create a melancholy and desolate atmosphere; while in a joyous celebration scene, he used bright yellow lights, combined with cheerful music, filling the entire stage with a festive atmosphere.
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