"After half a year, 'Radio Wave' is finally going to perform, and we are ready to welcome everyone at the theater." On July 15, the hit dance drama "Radio Waves That Never Die" landed in Shanghai Cultural Plaza, kicking off the replay. On the big screen, starring Zhu Jiejing said excitedly.
This was the 401st performance of "Danbo", and the audience was eagerly waiting, and tickets were sold out in ten minutes. This is also Zhu Jiejing's first return to the stage after participating in the third season of "Riding the Wind and Waves".
In January this year, "Radio" ushered in its 400th performance at the Majestic Theater. It was originally planned to return to the show in April, but was disrupted by the epidemic. After half a year, "Electric Wave" opened the prologue of a new hundred games in the cultural square, and also injected a "stimulant" into the recovery of the city's cultural industry.
"The stage was installed and dismantled, rehearsed and cancelled, and back and forth several times, but I believe that it is not too late. As long as we can meet in the theater, we are willing to wait as long as we can." Zhu Jiejing, who once again partnered with Wang Jiajun, hopes to see each other after a long time. Can bring you more happiness.
"Never Die Radio" is a dance drama created by the Shanghai Song and Dance Troupe based on the martyrs of our party's intelligence officer Li Bai and other martyrs on the eve of liberation. Zhu Jiejing plays Lan Fen, the wife of the hero Li Xia (based on Li Bai).
The moment she received the role, Zhu Jieqing felt that she was nothing like Lan Fen. There were differences in age, appearance, and psychology. She is particularly strong, and Lan Fen is a traditional Chinese woman who stands behind Li Xia to support her husband and children. She is very soft and does not have a very sharp side.
To get closer to the character, she tried to start with props. A worn-out fan and a torn cheongsam, like amulets, became a tool for her to hypnotize herself and slowly replace her role.
When visiting Li Bai's former residence, Zhu Jieqing found that the stairs leading to the attic were very narrow, and there was a rattling sound of aging wood at every step. Later, when performing, she learned to tiptoe like a kitten.
With rich stage experience, she has also wandered between "dance" and "authenticity".
In the play, there is an act of slapping the dust off her husband. She used to use the common ballet and orchid positions on the stage. The director immediately said that there was a kind of "terrible artificial", which was very deliberate. So, she repeatedly polished, trying to find the fireworks in life from the details.
Shooting ashes, sweeping the floor, wiping the table, laying the sheets, drying the clothes... In the process of doing housework, Zhu Jieqing is slowly approaching the characters. For example, when sweeping the floor, she found that real working women can't straighten their waists after working or raising children for a day, and they always have to support them. She also learned to knit a sweater. At first, her hands were like machines. Gradually, she felt the way from the flat needle, the upper needle, and the lower needle, and her gestures became more and more neat.
"Inadvertently, these details of life are piled up, superimposed and accumulated little by little, and slowly you will become real." For Zhu Jieqing, the most difficult thing is not the dancing technique, but how to make dancers Throwing away the inertia, erasing the traces of acting, throwing away "Zhu Jieqing", and moving her life to the stage, "My previous roles were very beautiful, very thin, and very immortal, and this role has turned me back into a human being, Stomping hard on the dirt."
The assembly horn is blown, and more than 100 performances are ready to go
On July 8, Shanghai Cultural Plaza opened the prelude to the reenactment with the theme of "Welcome Back, the World of Life".
On the same day, Shanghai Ballet re-welcomed the audience with Shanghai-style ballet "La Traviata". Although the temperature was as high as 37°C, it was hard to stop the enthusiasm of the audience into the theater. The familiar applause and cheers echoed in the auditorium again.
In order to ensure the safety during the viewing period, the Cultural Plaza strictly follows the 50% occupancy rate, and affixes seals in the compartments. The seals are printed with different lyrics, all from the six self-made musicals of the Cultural Plaza. In order to reduce contact, the Cultural Plaza also uses "electronic tickets" for the audience to scan the code to enter the venue, and the paper version of the ticket stub is used as a commemorative ticket, which is placed above the seats in advance. These designs are creative and considerate, sending a trickle of warmth to the audience who re-enter the theater.
From July 15th to 16th, the Shanghai Song and Dance Troupe blew the second wave of horns to gather audiences in the Cultural Square with the house-watching drama "The Eternal Wave". Following the requirements of Shanghai's epidemic prevention and control, the Cultural Plaza is carrying out re-performances in an orderly manner and cautiously promoting various performances.
As of the end of this year, more than 100 performances are poised to go on in the Cultural Plaza. Among them, various musical performances produced by the Cultural Plaza will return to the audience's attention in the near future.
The Chinese version of the musical "Letters from Fans" will be launched from July 22nd to 24th. In January this year, the Chinese version of "Letters from Fans" made its debut at the Cultural Plaza, presenting a poetic and long-lasting literary picture to the audience in Shanghai. At present, the ticket sales for the second round of performances have been fully opened, and all the actors are also speeding up the rehearsal process.
At the same time, the Chinese version of the musical "Interstellar Messenger" was also fully billed this week, and received more than expected market feedback. "Interstellar Messenger" describes the process of Galileo and Kepler's research on the theory of "heliocentric theory". From August 13th to 21st, they will go to the "Star Journey" with the audience at the Shanghai Theater to witness the humanistic speculation between the two scientists .
This was the 401st performance of "Danbo", and the audience was eagerly waiting, and tickets were sold out in ten minutes. This is also Zhu Jiejing's first return to the stage after participating in the third season of "Riding the Wind and Waves".
In January this year, "Radio" ushered in its 400th performance at the Majestic Theater. It was originally planned to return to the show in April, but was disrupted by the epidemic. After half a year, "Electric Wave" opened the prologue of a new hundred games in the cultural square, and also injected a "stimulant" into the recovery of the city's cultural industry.
"The stage was installed and dismantled, rehearsed and cancelled, and back and forth several times, but I believe that it is not too late. As long as we can meet in the theater, we are willing to wait as long as we can." Zhu Jiejing, who once again partnered with Wang Jiajun, hopes to see each other after a long time. Can bring you more happiness.
"Eternal Waves"
Throw away inertia, "radio waves" let her step on the dirt"Never Die Radio" is a dance drama created by the Shanghai Song and Dance Troupe based on the martyrs of our party's intelligence officer Li Bai and other martyrs on the eve of liberation. Zhu Jiejing plays Lan Fen, the wife of the hero Li Xia (based on Li Bai).
The moment she received the role, Zhu Jieqing felt that she was nothing like Lan Fen. There were differences in age, appearance, and psychology. She is particularly strong, and Lan Fen is a traditional Chinese woman who stands behind Li Xia to support her husband and children. She is very soft and does not have a very sharp side.
To get closer to the character, she tried to start with props. A worn-out fan and a torn cheongsam, like amulets, became a tool for her to hypnotize herself and slowly replace her role.
When visiting Li Bai's former residence, Zhu Jieqing found that the stairs leading to the attic were very narrow, and there was a rattling sound of aging wood at every step. Later, when performing, she learned to tiptoe like a kitten.
With rich stage experience, she has also wandered between "dance" and "authenticity".
In the play, there is an act of slapping the dust off her husband. She used to use the common ballet and orchid positions on the stage. The director immediately said that there was a kind of "terrible artificial", which was very deliberate. So, she repeatedly polished, trying to find the fireworks in life from the details.
Shooting ashes, sweeping the floor, wiping the table, laying the sheets, drying the clothes... In the process of doing housework, Zhu Jieqing is slowly approaching the characters. For example, when sweeping the floor, she found that real working women can't straighten their waists after working or raising children for a day, and they always have to support them. She also learned to knit a sweater. At first, her hands were like machines. Gradually, she felt the way from the flat needle, the upper needle, and the lower needle, and her gestures became more and more neat.
"Inadvertently, these details of life are piled up, superimposed and accumulated little by little, and slowly you will become real." For Zhu Jieqing, the most difficult thing is not the dancing technique, but how to make dancers Throwing away the inertia, erasing the traces of acting, throwing away "Zhu Jieqing", and moving her life to the stage, "My previous roles were very beautiful, very thin, and very immortal, and this role has turned me back into a human being, Stomping hard on the dirt."
The assembly horn is blown, and more than 100 performances are ready to go
On July 8, Shanghai Cultural Plaza opened the prelude to the reenactment with the theme of "Welcome Back, the World of Life".
On the same day, Shanghai Ballet re-welcomed the audience with Shanghai-style ballet "La Traviata". Although the temperature was as high as 37°C, it was hard to stop the enthusiasm of the audience into the theater. The familiar applause and cheers echoed in the auditorium again.
In order to ensure the safety during the viewing period, the Cultural Plaza strictly follows the 50% occupancy rate, and affixes seals in the compartments. The seals are printed with different lyrics, all from the six self-made musicals of the Cultural Plaza. In order to reduce contact, the Cultural Plaza also uses "electronic tickets" for the audience to scan the code to enter the venue, and the paper version of the ticket stub is used as a commemorative ticket, which is placed above the seats in advance. These designs are creative and considerate, sending a trickle of warmth to the audience who re-enter the theater.
From July 15th to 16th, the Shanghai Song and Dance Troupe blew the second wave of horns to gather audiences in the Cultural Square with the house-watching drama "The Eternal Wave". Following the requirements of Shanghai's epidemic prevention and control, the Cultural Plaza is carrying out re-performances in an orderly manner and cautiously promoting various performances.
As of the end of this year, more than 100 performances are poised to go on in the Cultural Plaza. Among them, various musical performances produced by the Cultural Plaza will return to the audience's attention in the near future.
The Chinese version of the musical "Letters from Fans" will be launched from July 22nd to 24th. In January this year, the Chinese version of "Letters from Fans" made its debut at the Cultural Plaza, presenting a poetic and long-lasting literary picture to the audience in Shanghai. At present, the ticket sales for the second round of performances have been fully opened, and all the actors are also speeding up the rehearsal process.
At the same time, the Chinese version of the musical "Interstellar Messenger" was also fully billed this week, and received more than expected market feedback. "Interstellar Messenger" describes the process of Galileo and Kepler's research on the theory of "heliocentric theory". From August 13th to 21st, they will go to the "Star Journey" with the audience at the Shanghai Theater to witness the humanistic speculation between the two scientists .
"Fan Letter"
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