The rise of the country from the entertainment industry
Chapter 251 The Peerless Young Concubine Yu
Chapter 251 The Peerless Young Concubine Yu
Duan Xiaolou and Cheng Dieyi agreed to co-star in "Farewell My Concubine" for a lifetime.
Their performance also won the favor of Yuan Siye, a powerful figure who is keen on "supporting roles".
In the passage where Duan Xiaolou is looking for Juxian, the bright red color covers the whole picture, and everyone seems to be immersed in the illusory red.
That is to say, in this red atmosphere, Duan Xiaolou and Juxian made a kiss on the spot.
This strong bright red seems not to be a celebration of engagement, but the color of Cheng Dieyi's anger when he heard about it later.
Cheng Dieyi couldn't stop his senior brother from getting married, and his heart was full of desolation. When he danced swords with Yuan Siye at night, the picture was all blue representing his lonely heart.
In the blue smoke, Cheng Dieyi entered a state of madness, grabbed the sword and wanted to kill himself.
In the strong contrast of red and blue, Cheng Dieyi's emotional state is presented, which brings a huge visual impact to the audience.
The change of color matches the fate of the characters, so that they can better feel the emotions of the characters and understand the thoughts of the characters.
In response to the call of the country, Zhenghui has actually made films with this kind of opera elements.
He has an understanding of opera culture, but not much.
In the past, it was just selling dog meat to create a sense of the times, and there was no in-depth study and application of opera culture.
In the movie "Farewell My Concubine", the expression technique of the Peking opera narration is used. When expressing the emotions of Cheng Dieyi and Duan Xiaolou, several fragments of the narration are incorporated, which is very appropriate.
The whole film uses opera as a clue, bringing a shocking effect and a sense of vicissitudes of history.
The music at the beginning of the film is only 44 seconds long, but it is short and delicate. Along with the beating of bangus in Peking Opera, the music motives of stringed instruments are inserted, which is similar to the Qupai of Peking Opera.
In the insertion of the musical motives of the stringed instruments, the Beijing opera tunes played by Jinghu appeared, forming a relatively sharp tonal opposition between the two.
In "Farewell My Concubine", the tonal contrast of music is also a very important expression method, which has high musical aesthetic value.
This is a breakthrough in the tonality of traditional music. It completes the opposition of tonality and can integrate the original relatively monotonous expression techniques into new elements.
It brings different feelings to the audience and is also a brand new aesthetic experience.
In the process of composing, Jiang Li also fully introduced this method, and produced a very distinctive musical effect.
The technique of tonality superposition is used in many places, adding multi-timbre, and adjusting the volume of each tone, thus forming a connotative and innovative combination effect of sound and picture.
This kind of tonal opposition also fully demonstrates the contradictory nature of Cheng Dieyi's fate. He has his own persistence in his different loves, and the contrast is extremely sharp in the social environment at that time.
This opera was also sung by Jiang Li and Duan Diehua in person.
The modal and color processing with Xiao as the theme appears in the "knowledge of emotion" scene, and with the soundtrack, the vivid and vivid feeling is interpreted vividly and vividly, giving people a sense of contradiction.
The main tune of C major, the G sound is the coda sound. In this melody, the first sound sharp F in the second stanza is the only inflection. By observing the melody and score, it can be seen that the tonality Sign the six tones of gala music for G.
After this melody has been modified by Jiang Li, the first note D of the first stanza and the tremolo mark on the first note C of the fifth stanza are added, which perfectly fits the expressive requirements of the film change.
This also makes the image of the whole mission more vivid and vivid, and makes the development of the film plot smoother.
The character traits of Cheng Dieyi in the film are also vividly displayed in the use of opera elements. A love-hate entanglement between two actors and a prostitute has gone through more than 50 years of historical changes.
The success of this film is that the proper use of opera elements adds a strong touch to the whole film.
It was also the first time I knew how humble an actor's status was in those days.
"Woooooo, Cheng Dieyi is really beautiful, but also really miserable."
"I'm originally a man, not a woman, so that's what I mean. Since then, has Dieyi's positioning of her gender been confused?"
"Mr. Jiang, a man, can actually play this kind of role so magnificently, how amazing!"
"This seems to be a scene where Concubine Yang is drunk? Help, it seems that I really saw Concubine Yang!"
This is actually the classic song "Little Open the Door" in Peking Opera. It is mainly a description of Concubine Yang Guifei's bosom state after being drunk. Concubine Yang Guifei has the most persistent belief in love and hopes to be favored by the emperor.But her longing for love will not be satisfied, and she will not be able to obtain the pure and dedicated love she wants.
In the movie, Cheng Dieyi plays Concubine Yang, who has a deep love for the "Overlord", that is, his childhood sweetheart brother Duan Xiaolou, but Duan Xiaolou can't accept him, because the brother loves him deeply. Looking at the chrysanthemum fairy girl in the brothel.
Moreover, at that time, homosexual love was not allowed by the secular world, and Cheng Dieyi's yearning for love became cannon fodder.
He will never be able to get the love he wants, and his wish of singing with his senior brother can't be realized.
In the film, Jiang Li shows the process of drinking, through the changes in various actions, fully expressing the change of a noble concubine losing the favor of the emperor, her heart is sad, but she pretends to be strong until she finally gets drunk and collapses.
Concubine Yang Gui in the opera has a very similar emotional experience with Cheng Dieyi in the real movie.
And Jiang Li, as the actor, presented the characters in the play most realistically.
This kind of character relationship is very similar to the character relationship in operas, and can fully show the development of the whole story.
Song Ge was stunned, seeing the children excitedly, speechless.
"So...you're crying now!?"
What is the most complained point about the whole movie now?
It's a dragging plot.
The development of this story is not refreshing at all.
But because the plot is more substituting, everyone will gradually ignore this shortcoming.
At this time, the plot of the movie has reached a turning point.
When Yuan Siye watched Cheng Dieyi's performance for the first time, a side top light shone on his eyes, showing his fascinated state of watching the play.
Cheng Dieyi's superb performance made it difficult for him to tell the truth from the fake, as he said: "For a moment or two, Yuan was also in a trance, thinking that Concubine Yu was reincarnated and reappeared."
This beam of light that expresses desire breaks the true and the false.
In Yuan Siye's eyes, and in the eyes of the audience, Cheng Dieyi became Concubine Yu in butterfly-like dreamy clothes.
(End of this chapter)
Duan Xiaolou and Cheng Dieyi agreed to co-star in "Farewell My Concubine" for a lifetime.
Their performance also won the favor of Yuan Siye, a powerful figure who is keen on "supporting roles".
In the passage where Duan Xiaolou is looking for Juxian, the bright red color covers the whole picture, and everyone seems to be immersed in the illusory red.
That is to say, in this red atmosphere, Duan Xiaolou and Juxian made a kiss on the spot.
This strong bright red seems not to be a celebration of engagement, but the color of Cheng Dieyi's anger when he heard about it later.
Cheng Dieyi couldn't stop his senior brother from getting married, and his heart was full of desolation. When he danced swords with Yuan Siye at night, the picture was all blue representing his lonely heart.
In the blue smoke, Cheng Dieyi entered a state of madness, grabbed the sword and wanted to kill himself.
In the strong contrast of red and blue, Cheng Dieyi's emotional state is presented, which brings a huge visual impact to the audience.
The change of color matches the fate of the characters, so that they can better feel the emotions of the characters and understand the thoughts of the characters.
In response to the call of the country, Zhenghui has actually made films with this kind of opera elements.
He has an understanding of opera culture, but not much.
In the past, it was just selling dog meat to create a sense of the times, and there was no in-depth study and application of opera culture.
In the movie "Farewell My Concubine", the expression technique of the Peking opera narration is used. When expressing the emotions of Cheng Dieyi and Duan Xiaolou, several fragments of the narration are incorporated, which is very appropriate.
The whole film uses opera as a clue, bringing a shocking effect and a sense of vicissitudes of history.
The music at the beginning of the film is only 44 seconds long, but it is short and delicate. Along with the beating of bangus in Peking Opera, the music motives of stringed instruments are inserted, which is similar to the Qupai of Peking Opera.
In the insertion of the musical motives of the stringed instruments, the Beijing opera tunes played by Jinghu appeared, forming a relatively sharp tonal opposition between the two.
In "Farewell My Concubine", the tonal contrast of music is also a very important expression method, which has high musical aesthetic value.
This is a breakthrough in the tonality of traditional music. It completes the opposition of tonality and can integrate the original relatively monotonous expression techniques into new elements.
It brings different feelings to the audience and is also a brand new aesthetic experience.
In the process of composing, Jiang Li also fully introduced this method, and produced a very distinctive musical effect.
The technique of tonality superposition is used in many places, adding multi-timbre, and adjusting the volume of each tone, thus forming a connotative and innovative combination effect of sound and picture.
This kind of tonal opposition also fully demonstrates the contradictory nature of Cheng Dieyi's fate. He has his own persistence in his different loves, and the contrast is extremely sharp in the social environment at that time.
This opera was also sung by Jiang Li and Duan Diehua in person.
The modal and color processing with Xiao as the theme appears in the "knowledge of emotion" scene, and with the soundtrack, the vivid and vivid feeling is interpreted vividly and vividly, giving people a sense of contradiction.
The main tune of C major, the G sound is the coda sound. In this melody, the first sound sharp F in the second stanza is the only inflection. By observing the melody and score, it can be seen that the tonality Sign the six tones of gala music for G.
After this melody has been modified by Jiang Li, the first note D of the first stanza and the tremolo mark on the first note C of the fifth stanza are added, which perfectly fits the expressive requirements of the film change.
This also makes the image of the whole mission more vivid and vivid, and makes the development of the film plot smoother.
The character traits of Cheng Dieyi in the film are also vividly displayed in the use of opera elements. A love-hate entanglement between two actors and a prostitute has gone through more than 50 years of historical changes.
The success of this film is that the proper use of opera elements adds a strong touch to the whole film.
It was also the first time I knew how humble an actor's status was in those days.
"Woooooo, Cheng Dieyi is really beautiful, but also really miserable."
"I'm originally a man, not a woman, so that's what I mean. Since then, has Dieyi's positioning of her gender been confused?"
"Mr. Jiang, a man, can actually play this kind of role so magnificently, how amazing!"
"This seems to be a scene where Concubine Yang is drunk? Help, it seems that I really saw Concubine Yang!"
This is actually the classic song "Little Open the Door" in Peking Opera. It is mainly a description of Concubine Yang Guifei's bosom state after being drunk. Concubine Yang Guifei has the most persistent belief in love and hopes to be favored by the emperor.But her longing for love will not be satisfied, and she will not be able to obtain the pure and dedicated love she wants.
In the movie, Cheng Dieyi plays Concubine Yang, who has a deep love for the "Overlord", that is, his childhood sweetheart brother Duan Xiaolou, but Duan Xiaolou can't accept him, because the brother loves him deeply. Looking at the chrysanthemum fairy girl in the brothel.
Moreover, at that time, homosexual love was not allowed by the secular world, and Cheng Dieyi's yearning for love became cannon fodder.
He will never be able to get the love he wants, and his wish of singing with his senior brother can't be realized.
In the film, Jiang Li shows the process of drinking, through the changes in various actions, fully expressing the change of a noble concubine losing the favor of the emperor, her heart is sad, but she pretends to be strong until she finally gets drunk and collapses.
Concubine Yang Gui in the opera has a very similar emotional experience with Cheng Dieyi in the real movie.
And Jiang Li, as the actor, presented the characters in the play most realistically.
This kind of character relationship is very similar to the character relationship in operas, and can fully show the development of the whole story.
Song Ge was stunned, seeing the children excitedly, speechless.
"So...you're crying now!?"
What is the most complained point about the whole movie now?
It's a dragging plot.
The development of this story is not refreshing at all.
But because the plot is more substituting, everyone will gradually ignore this shortcoming.
At this time, the plot of the movie has reached a turning point.
When Yuan Siye watched Cheng Dieyi's performance for the first time, a side top light shone on his eyes, showing his fascinated state of watching the play.
Cheng Dieyi's superb performance made it difficult for him to tell the truth from the fake, as he said: "For a moment or two, Yuan was also in a trance, thinking that Concubine Yu was reincarnated and reappeared."
This beam of light that expresses desire breaks the true and the false.
In Yuan Siye's eyes, and in the eyes of the audience, Cheng Dieyi became Concubine Yu in butterfly-like dreamy clothes.
(End of this chapter)
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