Original title: The radio wave of faith will never die
From January 13th to 15th, the dance drama “Eternal Waves” performed by the Shanghai Song and Dance Troupe was performed three times in a row at the Hainan Song and Dance Theater. This is also a unit of the 2022 Hainan Island Spring International Art Exhibition.
The scarves in the hands of the actors are full of deep meaning.
The graceful and elegant “Cheongsam Pufan Dance”.Photo by Hainan Daily reporter Song Guoqiang
The actors use silent language to wonderfully “tell” a tear-jerking story.
The actors danced the fireworks in Shanghai’s alleys with graceful and elegant cheongsams.
“The Eternal Wave” is a popular red dance drama.Photo by Hainan Daily reporter Li Tianping
The highly condensed dance drama narrative, beautiful image expression, flexible and freehand stage setting and tense suspense of espionage war bring the audience back to the thrilling eve of Shanghai’s liberation, and reproduce the heroic image of our party who sacrificed heroically for the cause of national liberation. .
The dance drama “Eternal Wave” is based on the true story of Martyr Li Bai, one of the “100 heroes and models who made outstanding contributions to the founding of New China”, and is boldly created on the basis of respecting historical facts. Because of its combination of youthful color, red memory, romantic feelings, espionage war atmosphere and other elements, it has a clear pursuit and a clear breakthrough in art. Since its birth, the play has been sought after by many audiences. Theme theme dance drama.
Only love and faith last forever
“The long river runs silently, only love and faith last forever”. Whenever the dance drama “The Never-Gone Radio” came to an end, this “radio slogan” always touched every audience present. People will never forget that in the history of the revolution, there were such a group of revolutionaries who fought tensely on the hidden front, putting their lives and death at risk. They are a group of ordinary people, with a family and a tender side…
The play is about two hours long, divided into two halves, starting from the protagonists Li Xia and Lan Fen disguised as husband and wife in Shanghai. Fight bravely. In the revolutionary struggle, they secretly fell in love and eventually became revolutionary partners. On December 30, 1948, after sending the last telegram, Li Xia was arrested and died the following year, only 20 days before the liberation of Shanghai…
This drama perfectly combines traditional dance drama with modern video techniques. The actors use silent language to wonderfully “tell” the tear-jerking stories. In the play, a lingering and tender “reminiscence pas de deux” tells the relationship between Li Xia and Lan Fen through delicate body language, transforming the two from acquaintance, acquaintance to love, and transforming revolutionary friendship into revolutionary love. Warm and romantic displayed on the stage.
“It is the yearning for a better future that makes Li Xia’s belief more firm.” Li Xia’s actor and famous dancer Wang Jiajun told the Hainan Daily reporter that although Li Xia and Lan Fen have experienced difficult times and experienced inner suffering , However, in their hearts, the faith has never been shaken, and the light of ideals has never dimmed, because they believe, “The sky is about to dawn.”
Use dance to convey narrative beauty
As a popular red dance drama, “Eternal Waves” skillfully uses spatial changes, bold designs and sensitive captures, perfectly demonstrating the ingenuity of contemporary dance aesthetics. Among them, the most famous group dance is the graceful and graceful “Cheongsam Pufan Dance”.
Accompanied by the melody of “Yuguang Song”, women in cheongsam walked out slowly, shaking bamboo and palm fans, dancing lightly, echoing the lines of Shikumen buildings faintly outlined on the background board. They not only danced out the fireworks charm of Shanghai alleys, but also made the gentle charm of female revolutionaries and the vigorous style of male revolutionaries blend into a wonderful image of a combination of hardness and softness.
“The Eternal Wave” is a spy war story with a tight rhythm and interlocking links. It is not only longer than lyrical, but also better able to narrate, expanding the performance space for dancers. For example, a man in black with a black umbrella walks on and off the street, and Li Xia in a light gray gown shuttles through it. This scene appears many times in the play as an important rendering, and each time has a different theatrical task. Another example is the darkness before dawn. The situation faced by the Communists is extremely critical. This atmosphere is presented through the urgent rhythm and suppressed emotions contained in the dance. The details such as the host’s bus access to information and evasion of tracking have even achieved the effect of a feature film.
Different from the traditional linear time-space logic narration of dance dramas, “Eternal Waves” uses a lot of film montage techniques, through flashbacks, interludes, flashbacks, parallels and other narrative methods to skillfully weave a contrasting and complex stage. The art space and time frame a fascinating artistic realm, which makes the audience have a “sense of seeing a blockbuster movie”.
“When I met the role of Lan Fen, I had a new understanding and definition of stage beauty. Stage beauty is not only about form, but also a kind of power. It should be a symbol of moral spirit and a great and noble life.” Lan Fen The actor Zhu Jiejing said, “Dancers should integrate this kind of sublime and greatness into the dance, return to the life of the characters, and let the touching characters ‘jump’ into the hearts of the audience, so that the audience can resonate.”
Looking back at history through the eyes of young people
Since December 21, 2018, the dance drama “Eternal Wave” was auditioned at the Shanghai International Dance Center, and the “electric wave” fever has quickly swept the country. Many fans of the show spontaneously brushed the show many times, and there are many “post-90s” and “post-00s” “radio fans”, which was not expected by the main creators.
“‘Eternal Wave’ is like a seed. Everyone in the crew cares for it, slowly jointing the booting, flowering and fruiting, until the fragrance overflows.” Chen Feihua, the producer of the play, said that every action, every scene Emotions, every move, and every scene have been repeatedly conceived by the creative team, carefully crafted, and dedicated. From the main creative team represented by chief editor Han Zhen, Zhou Liya, composer Yang Fan, and costume designer Yang Donglin, to actors Wang Jiajun, Zhu Jiejing, Hou Tengfei, Wang Jing, etc., they are basically “post-80s” and “post-90s” youth, ” We want to look back at this history through the eyes of contemporary young people and create a heroic image unique to dance dramas.”
“Only ordinary and truth can impress the audience and resonate with the audience.” Wang Jiajun told the Hainan Daily reporter that during the rehearsal, they consulted a large number of historical materials, studied film and television works of the same theme, and went to the red education base to collect styles. Simple and unadorned furniture, creaking wooden stairs, and a small attic less than two square meters… When visiting the former residence of Martyr Li Bai, Wang Jiajun was deeply touched, “This kind of environment gave me a very specific imagination space for character shaping. The small attic seems to be Li Xia’s battlefield, sending out countless important messages, until he sent the last telegram of his life there with the belief that he must die.”
“The expression of the dance drama “The Eternal Wave” is rooted in the most simple life and the most ordinary people. Every interpretation is based on our truest understanding and interpretation of the characters. There will be the impulse and passion to express.” Zhu Jiejing told the Hainan Daily reporter that even if the props of the fan that appeared repeatedly in Lan Fen’s hands in the play were yellowed and cracked, she was still reluctant to replace them. “This object represents an era and the ordinary women of that era. It is very pyrotechnic and simple. I think it is no longer an ordinary dance prop, but a part of the character, which allows me to find the soul of the character, through the body. Language presents the attitude that ordinary women should have in that era.” (Ang Ying)
.
