--The Scream of Chinese Musical Theorist Wen Shuo

Interlocutor:Wen Shuo, a master of Chinese musical theater theory and a leader of Chinese musical theater renaissance. He is the watchman of Chinese national cultural renaissance and the revitalizer of national culture. He is the author of History of Modern Chinese Musical Theater. In 1993, he was selected as one of the first batch of "Children of the East" by CCTV, and was interviewed by Bai Yansong. In 1993, he was selected as one of the first "Children of the East" by CCTV and was interviewed by Bai Yansong.

Interlocutor:Liu Haofeng is the founder of Hexology, a thinker and artist, and the chief writer of many international media. In the late 1990s, he began to push for the renaissance of Chinese culture and advocated for the renaissance of world culture. His representative works are "Harmony - Chinese Cultural Inheritance and Enlightenment" and "Anthology of Chinese Cultural Renaissance", etc. In 2010, Liu Haofeng was selected by the Chinese Ministry of Culture's "Red Son" magazine to be interviewed by the "Red Son of the Orient" column; and in 2011, he was interviewed by the host of the "Everyone" program of CCTV. In 2010, he was selected by the Chinese Ministry of Culture's "Red Son" magazine to receive a special interview in the "Oriental Red Son" program; in 2011, he was interviewed by CCTV's "Everyone" program host, Ms. Permit. In 2011, he was interviewed by Ms. License, the host of CCTV's "Everyone" program. He was praised as the theoretical flag-bearer of the Oriental Renaissance by New York's ICN International Satellite Television and Tokyo's "Japan-China Business Journal".

Records:Editorial Board of the Journal

He sold three houses in Beijing just to watch over the rejuvenation of Chinese national culture, and persevered to be the revitalizer of national culture.

He is the Hunan "mule" Wen Shuo.

He is a renowned accounting scholar, brand marketing and musical expert. He has served as Vice President of UFIDA Software Group, Vice President of Beijing Ray TV Communication Company, and President of Boao Asia Cultural Media Research Institute in Hainan, and has made outstanding contributions to five industries, including accounting and auditing, publishing and distribution, advertising and marketing, television entertainment and musicals. He has been a trend-setter in many industries, and has integrated resources across industries and committed himself to innovation and change in each industry. He has finally found his niche in life and is now focusing on the development of Chinese national musicals.

He left behind the mundane and the material in exchange for a historical library full of musicals and plays, hidden in his chest, rich, clear and concrete.

In this noisy era where most of the people in the eyes of Qian Liqun of Peking University are refined egoists, the Chinese dream of national rejuvenation cannot be separated from the idealists of national cultural rejuvenation who pave the way and play the vanguard with an iron shoulder to bear the righteousness.

On stage, he has a biting personality, with a single, bold and uninhibited approach.

Offstage, there are requests for plain, lean, and honest words;

In terms of artistic language, he firmly believed that the Model Opera during the Cultural Revolution was one of the peaks in the history of the world's musicals; he firmly believed that Chinese opera was a musical with oriental charm, which fulfilled the conditions of Master Wang Guowei's "storytelling through song and dance". This has given a higher light and hope to the westernized Chinese academia. Cultural self-confidence requires the command and authority of theorists.

Lau Ho Fung:

Since the fall of Fiddler on the Roof in 1964, Broadway has been in wan and lifeless years ever since. During this period, European musicals took advantage of the situation. Beginning in the 1980s, British musical theater people, represented by Andrew Lloyd Webber and Tim Rice, created pop opera-style musicals with the endless melodrama of Les Misérables, and concert-style musicals with Notre Dame de Paris. It swept from Europe to Broadway and then to the world. It is a complex form of "innovation", but because of its huge industrial success, it has been accepted wholesale by the people of the time. China was no exception to this trend, and was completely overrun by it.

However, just when the world was hailing these popular operas and concert-style musicals as the world's musical classics, in China, the east of the world, Wenshuo - you, a Hunanese - bravely stood up to this world wave with a commentary that said, "Les Misérables fooled the whole world in the name of musical theater! With a review article "Les Misérables fooled the world in the name of musical", Wen Shuo, a Hunanese, bravely stood out and hit the world wave with a distinctive stance. In a turbid world, is this alone sober?

Bunshuo:

The reason is very simple: opera, dance, drama or musical are all parts of modern theater. Opera tells a story mainly with "songs", dance drama with "dances", drama with "lines", and musicals with "songs", "dances" and "lines". "Song", "dance" and "lines" are used to tell a story in three dimensions, which belongs to the modern integral theater with the highest degree of organic integration. In this sense, "Les Misérables" of the "no end melodic" form, and focus on singing to convey the feelings, ignoring the overall dramatic layout of the stage effect determines that it is only an opera, accurately speaking, it is the improvement of the opera after the modern pop opera, is the European opera sector "revolutionary model opera ", its core appeal is music and concerts, rather than theater, theater is only in a supporting position; therefore, its commercial success can not change the essence of the drama song and dance three-dimensional narrative lack of.

This reminds me of an evolutionary theory in the Chinese opera world: they believe that opera has long been divided into elegant and vulgar, modern opera has been following the old path of positive opera, while comedy opera has laid a nest of changed eggs, and that musicals are on the right path of comedy and comedy opera, so musicals are the popularization of opera. This view is both right and wrong, right in pointing out that so-called musicals of the Les Miserables type are inextricably linked to opera, and wrong in making the same mistake the musical theater community has made by confusing musicals with opera.

I offer this theory of evolution in the hope of emphasizing, from an operatic perspective, that Les Miserables has its roots in opera, not in musical theater. Including Les Miserables among musicals is like Broadway's inclusion of Contact by Susan Stroman