Many plays have been adapted into various local plays.It is rare for opera programs to be adapted into dramas.In order to inherit the tradition and carry forward the national style, it is reasonable to experiment in this way.It is not easy to find out where the difficulty is without experimenting. Recently, I have experimented with adapting Sichuan Opera into drama.Whether it can be staged or whether the show will be successful, I don't know.However, I got a little "talk from experience" and wrote it here. 1. As soon as I wanted to do this experiment, I thought: In terms of interludes, drama can be more concentrated and concise.I have to beat drama with this.This has been done: there are ten scenes in Sichuan Opera, but I reduced them to six.

However, there are problems here.The cutscenes in operas are very effective, they can explain the changes of the plot very simply, and sometimes they can be vivid and dramatic.For example: there is a family fleeing on the stage, but the robber or enemy soldiers have arrived, and the family stands facing inward.This cutscene explained the plot, and it was impressive.Drama is not so convenient.Drama can replace cutscenes with effects, but not as vivid and vivid as cutscenes. Opera can display skills in the cutscenes, such as sprinting dance steps or swinging horses, or even throwing backs or hanging hair.Drama is not so convenient.

Of course, not all cutscenes in operas are like this. Sometimes, even though they see the responsibility of explaining the plot, they are too tedious, and only hear the sound of gongs and drums, but the play does not come out. In order to concentrate the drama, we can cut out the weak cutscenes, which is an advantage.But it is not easy to use the simple and powerful cutscenes, let alone display skills in the cutscenes, which is a loss.One gain and one loss can only be counted as making ends meet.When adapting, I only cared about the concentration, and didn't dare to take the risk of using cutscenes.Whether or not it should be used, and how, is a question I put here.

Second, when adapting, I changed some plots.I thought this way: Since the Sichuan opera has boldly changed the old script, why can't I change it?However, is this an adaptation, or is it a reinvention?This is another problem. In the original play, the Jin family and Huang Jia fled due to the chaos. I don’t want to use such external factors to promote the development of the plot, so I changed it to: Huang Yuan came to propose marriage originally to seize the Jin family’s property, but after marriage Later, both Jin Sanguan and Zhenfeng were driven out, and the property was seized.In this way, it can not only show the organic development of the plot, but also add a layer of clarification that big fish eat small fish.This change is not small.

The bigger change is that He Zhu is paired with Zhao Wang——in the original drama, she married the No. 1 scholar.This is a big change! Should it be changed like this? Of course, the arrangement before and after the script is logical, and the development of the plot is a matter of course. If it is necessary, changes, even major changes, are also possible.However, if you are not careful, you will use the present to talk about the past, and force into it thoughts and feelings that the ancients did not have and could not have, which is not quite right.Besides, the plot of a play is often determined by the author's thinking and the wishes of the people at that time.If the plot is greatly changed, can the innocent wishes of the ancients be preserved?Huang Yuanwai swallowed Jin Sanguan, a smaller fish, which has existed since ancient times, so it makes sense.Is the lotus pearl paired with Zhao Wang also so appropriate?I can't tell yet.Also as a question, put it here!

3. I don’t know what others do, but I have this habit: when I go to opera, I always hope to hear some good singing and see the real skills of the actors—preferably some special skills.When I go to a play, I know that the actors neither sing nor shake their hair, but play cock feathers; I just hope to get ideological inspiration from the play.This is not to say that I underestimate the ideological nature of opera or the performance skills of drama, but there are some differences in the points of attention.However, in the process of adapting operas to dramas, this difference brought me a lot of difficulties.

I want to adapt an opera into a play.According to the above-mentioned habits, I naturally require that my adapted works have a strong ideological quality, and do not require the actors to walk around and play tricks.However, how to strengthen the ideological level?In some opera programs, as long as the music, singing, dancing, interludes, etc. are well organized, it can become a lively drama, and it doesn't matter if it is not very ideological. (There are many opera programs that are highly ideological and artistic.) Then, if the music and singing are deleted and turned into a drama, where can I find more ideological supplements?With my little ability, it is really difficult to do it.If you don't do it this way, there will be no singing and dancing, and your thoughts will be mediocre, dispensable, so why change it?If we try our best to do this, I am afraid that it will be changed and changed completely, and it has nothing to do with the original opera. How can it be called an adaptation?Yes, even when writing lines, I still lose sight of the other, I don’t know what to do.When I was writing my lines, I could always hear the sound of gongs and drums, vocals and singing from Sichuan Opera.My language can't help but use the old words and lyrics. "Oh, champion!" "What's the matter?"Therefore, the lines are more than ancient, but not fresh enough.In some places, the old and the new are mixed together, which is very inconsistent.In order to rectify this disadvantage, I want to try my best to abandon the old and adopt the new, but I am afraid that the lines will be too new and lose the original flavor of opera.How should such lines be written?Should it be all old, or should it be brand new?If it is good to mix old and new, what is the appropriate ratio of old and new vocabulary?I have no idea.If you write it casually, it is neither a donkey nor a horse, and it is not the best policy!

The image and movement of the characters also have such difficulties: let’s take the clown as an example, I always think of the person with the tofu cubes on his nose, but I can’t think of what he should look like in a drama.A clown in opera, just by his (or her) costume and appearance, can make people laugh as soon as they show up.Is it convenient for the clown in the play?If the same old formula is used too much, I am afraid it will become a buffoon in a discounted opera-the person who wipes the tofu cubes comes out, without gongs, drums, and singing.If you create it from scratch, you are not sure!It is quite difficult to grasp a certain image, but to have a distinctive personality.

The most difficult thing to do is: in opera, when the time comes, the actors will shout, as long as they sing well, the drama will rise, and the audience will nod their heads in praise when they sing a song on stage.Drama is not easy to do. Reciting large passages of poems instead of singing, if you do it once in a while, it is not impossible; if you do it repeatedly, you will probably fail.Switching to long dialogues is also dangerous.In this case, it is necessary to add new things.But what to add?As far as Sichuan opera is concerned, I think its comedy atmosphere is not enough, so I will start from here and make Jin Sanguan fully ugly, and make the young lady fat and stupid, and even add some ridiculous moves to Xiaosheng , in order to enhance the atmosphere of comedy.Whether it is right or wrong to do so, let’s not say for now.What's more important: Sichuan opera is newly revised, so there are still some immature places.What if it is a mature opera?For example, let's adapt the Beijing opera "Fishing and Killing the Family" into a drama.Its drama conflicts are very strong, the characters are very distinct, the scene is tight, the singing is popular, and the dancing postures of boating and mooring are very beautiful.How to change this?Having said that, I am afraid that this kind of adaptation work should be re-creation, rather than climbing along the pole;Think about it, stripping Xiao En, Gui Ying and Teacher Ye of their costumes and appearances, and neither singing nor dancing, just putting the original story on stage, how can it become a play?There is a considerable distance between the two forms of opera and drama!In my opinion, dramas adapted from operas must of course absorb some of the good things in operas, and the main thing is to recreate them.Otherwise, the adapted play would not be better than the original script.This kind of work must not only achieve the combination of the old and the new, but also strive for excellence and make the best of each other's strengths.Never give up your strengths!

If you don't do it, you don't know where the difficulties are, and you can't overcome them.Beforehand, I didn't expect to encounter so many problems - language, interspersed characters...etc.Once I started, I couldn't stand it anymore.The purpose of this "experience talk" is mainly to hope that everyone can give advice so that we can conduct experiments better and avoid detours.