《雷雨》的前世今生（The past life of thunderstorm）
The past life of thunderstorm
In 2010, the modern drama China Mr. Cao Yu the most outstanding dramatist (1910 - 1996) of 100th anniversary, China around the theatre have held performances to commemorate Cao Yu hundred years. Beijing people's launch of the "sunrise", "thunder", "Beijing", "wilderness" the four drama "Thunderstorm", Suzhou Pingtan and Shanghai Shanghai Theatre "Thunderstorm" and "sunrise", "wilderness" have been staged in Beijing, caused a stir.
In February 24th this year to 27, the famous director Wang Yansong with his new interpretation of the "Thunderstorm" on the first version of the National Theatre, received numerous recognition since the 2007 premiere in Shanghai, the daughter of Sir Cao Yu, the famous playwright articles that this "Thunderstorm" is the most faithful to Cao Yu's original, the original version.
A work lasted for more than 50 years on the stage, also become an influential China play at home and abroad, still attract people to their own point of constant interpretation, the drama "Thunderstorm" is such a charm.
The past life of thunderstorm
Thunderstorm was born in 1935, premiered in Tokyo, Japan, followed by Tianjin, Shanghai and Nanjing. In 1947, thunderstorm performed in Taipei. Not only Chinese love to play "Thunderstorm" and "Thunderstorm", "Thunderstorm" have also
been translated into Japanese, English, Korean, Vietnamese, Korean, Vietnamese, boarded Singapore, Russia is China stage, an influential play at home and abroad.
The complete "Thunderstorm" script, at the end and end, is filled with mysterious Christian atmosphere, in the distance church choir mass, the big organ sound, through the redemptive and confession breath. After the new China established literary influence in leftist thought, "Thunderstorm" prelude, the end of nature was cut off on the stage, at the same time, Zhou Puyuan and Ma Lu between this pair had some similar "dream of Red Mansions" Baoyu and relationship between the changes in the class struggle.
Now, as belonging to the model of "Thunderstorm" is the Beijing people's art director Xia Chun in 1954 version, starring Zheng Rong, Zhu Lin, Su min, Hu Zongwen. Today to see the play video, some acting somewhat exaggerated, too even conceptualized tone, but Zheng Rong's "Zhou Puyuan", Zhu Lin's "mother Lu" is popular.
leftist
I see that in recent years, the wheelchair old gentleman, Zheng Rong at the capital theatre excited, in my mind, he is the classic "Zhou Puyuan", that is, to speak sonorous and forceful overbearing feudal patriarch "Zhou Puyuan".
In 1993, the Chinese Youth Art Theatre Wang Xiaoying directed the new edition "Thunderstorm", which removed the character of Lu Hai, and made the story more condensed and focused, and was recognized by Cao Yu. In 2003, 23 China drama "plum blossom Award" actors "Thunderstorm" (Director: Xu Xiaozhong), restore the prologue andepilogue this show, Pu Cunxin, Xiao Xiong and other "plum blossom Award" winner of a gathering of many people,
the "Thunderstorm" stars shine.
This year, Shanghai Theater Academy, Shanghai Dramatic Arts Center launched a new version of "Thunderstorm" at the National Theatre (Director: Wang Yansong), and this version of "plum blossom" version of "Thunderstorm", also retained the original prelude, the end part, emphasizes the religious feelings. Wang Yansong's interpretation of "Thunderstorm" is: "Thunderstorm" is a cycle of reproduction of a man and two women's Thus, there is a new thread of clue: why do people love each other so much?" Obviously, this version of "Thunderstorm" takes the protagonists' love clues as the lead, presenting the whole story, which coincides with the taste of our little age.
Cao Yu's plays combine the beauty and the good
Looking back over a hundred years, China has developed from a semi feudal and semi colonial society into a prosperous, democratic and independent country, and Cao Yu's life has gone through all kinds of political changes in China's modern and contemporary history,
The war of warlords, the Japanese invasion of China, the Kuomintang Communist war, the founding of new China, the "Cultural Revolution", the reform and To some extent, Cao Yu is lucky, because he witnessed China's most magnificent historical period, so his life and his works have a different kind of heavy feeling.
In 1935, Mr. Cao Yu created the "Thunderstorm" and "sunrise",
which marks the maturity of literary Chinese drama (from "history" of modern drama "China Chinese Drama Press July 1989 first edition >). Subsequently, "wilderness" appeared. "Beijing man" finished, Mr. Cao Yu's screenwriter career reached its peak, when he was only 30 years old. Thus, Mr. Cao Yu is a very precocious sensitive person, which he was born the feudal bureaucratic family, young mother have a great relationship. Cao Yu's "Thunderstorm" is written in Tsinghua Yuan and the day after his first wife, great lady Zheng show love, great love, is a source of inspiration for the creation of.
In the context of the times, China humanism plays more active, the emergence of numerous famous works, like Guo Moruo's historical drama "Qu Yuan", Tian Han's "autumn sound Fu" and Xia Yan "Shanghai eaves" and Song Zhi's "fog of Chongqing" and so on, however, today is still in the Chinese theater. Only two people Lao She and Cao Yu's plays. Lao She's drama, thanks to the capital Beijing congenital environment, Beijing accent is rich, the Yanzhao folk customs, at the same time, the "teahouse" and director Jiao Juyin, and so Zheng Rong and Lan Tianye, "Beijing art" wonderful actor two creation, become immortal classic drama China. It's hard to say, "get to the south of the theater, also can send out such as" Beijing art "version of the general charm, but" Thunderstorm "and" sunrise "," wilderness "is applicable everywhere," Jiangnan Jiangbei, ages.
Cao Yu's play can survive on the stage for more than half a century, enough to prove its uniqueness. I was at a young age, "rebellion", do not agree with Cao Yu's uniqueness, that his plays imitation is too heavy, Ibsen's "ghosts",
Aositeluofusiji "the storm", "Racine", O'neal's "Fedder emperor Jones", Chekhov's "three sisters"...... They all put a distinct mark on Cao Yu's plays. Now, in the theater steeped in more than ten years later, I finally found that Mr. Cao Yu's play despite the distinctive western classical drama masterpiec
e traces, but filled with China type feelings, Cao Yu to the Western way of saying the Chinese China drama makes traditional code of conduct, show the difference from the traditional opera and profound reflection.
As we know, Chinese early drama, "the Ibsen doctrine", is based on the "political propaganda", thus ignoring the drama of the exotic beauty of art ontology. Despite the "love beauty Drama Movement" and several attempts to enhance the aesthetic characteristics of the drama movement, but all failed. In the embodiment of stage aesthetics, opera and traditional opera has reach the peak of perfection, the most entertaining repertoire, too, to cater to the Chinese popular music culture, it is the "54" new culture movement time. The introduction of China drama culture at that time, people value is awaken it. Cao Yu's play is undoubtedly the best combination of aesthetic and ideological.
"Thunderstorm" to comply with the "three", difficult "locking" structure, dramatic everywhere, suspense, sudden change of elements has the advantages of compact structure, dexterity, ring ring, not for a moment to let the audience relax. Although the "Thunderstorm" story involves "Incest" of the ancient Greek tragedy of common themes, but China young viewers are still willing to see, are willing to play, because the play has a strong anti feudal consciousness, to express their feelings.

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