Shanghai Starts The Training Program Of Yue Opera Costumes, And Nurture Professional Clothing Production Talents.

Recently, reporters learned that the Shanghai Shaoxing opera theater, which had not compiled for many years, is planning to start a training program for costume production of Yue opera, so as to train its own clothing production talents.

In the interview, the reporters found that the shortage of costume making technicians was common in the theatrical troupes in Shanghai. The new costumes needed for the new play almost depended on the production strength outside the theatrical troupe. Not only the quality could not be guaranteed, but also the time was controlled by others.

On the other hand, Li Yuan Xing's original theory of "pierced through and pierced not wearing wrong", but now wearing the wrong clothes on the stage has occurred frequently. The younger generation of actors know little about the norms of traditional opera costumes, but behind the irregularities is the dilemma of the inheritance of the traditional costume culture.

Lack of talent

It is a symbolic element of traditional operas.

From the style, color, pattern to the production process, there are various fastidious and standardized, it can be said that costume itself is also an art.

In recent years, however, talent in this field has become increasingly scarce.

Zhang Yumei, deputy director of the Shanghai Yue Opera Theater, who was born in costume design, told reporters that there had been many years of clothing production technicians who had not worked in the theater, and some of the teachers who had helped the Shaoxing opera theater to make costume production workshops were not prepared. Now most of these teachers are old, and only one of them is still making costumes for the theater.

The Peking Opera House in Shanghai has a relatively strong force in this respect, but although there is a team of garment production, Ceng Zude, vice president of Beijing Opera Theater in Shanghai, told reporters that because the number of technicians in the theater is limited, if a new play is arranged, it is still necessary to go out to the workshop to make clothes.

Ceng Zude also told reporters that even if he had his own production staff, the embroidery needed on the costumes should be completed by the embroidered mother of Suzhou. The production staff in the yard were only responsible for the early trimming, embroidery patterns, and the process of "assembly" after embroidery.

Less security

The Shanghai Kunqu Opera Troupe and the Shanghai Huai opera troupe are completely without their own.

。

Without their own clothing production team, the result is a row of new play to get "grandpa grandpa".

The deputy head of the Shanghai Kunqu Opera Troupe said that the new opera "smoke lock palace building" was being designed by Taiwan designers. It was difficult to find a factory in Suzhou at a reasonable price, but it was not until January that all the costumes could be handed in. Then the props of the theatrical troupe to Taiwan were checked out, and these clothes could only be carried on the plane.

Without their own production team, it is not only difficult to guarantee time, but sometimes quality is also a problem.

Liang Weiping, a Huai opera actor, complained to reporters that even a good pair of thick bottom boots are not easy to buy. He said that technicians who can make high-quality thick bottomed boots are less and less.

But for the Academy, it is not very realistic to have a team that can complete the production of new costumes independently.

In the interview, Gu Hao Hao, Liang Weiping said, if

The establishment of such a production team under the Opera Art Center may change the situation to some extent.

Temporary difficulties

Protecting and inheriting the production process of costumes is also an important reason for the Shanghai Shaoxing opera theater to start training for Yue Opera costume production.

However, the urgent need to protect and inherit is not only the craft, but also the inheritance of traditional costume culture. Many young people in the industry know little about the norms of opera costumes.

Cheng bin, a famous Tianjin opera collector who likes to collect opera costumes, told reporters that traditional opera costumes are strictly classified according to their grades and status. Regardless of styles, colors and patterns, they are fastidious.

But now there is a phenomenon of wearing the wrong clothes on the stage of the opera. Cheng Bin said, "now some actors are playing Dave's son towel in Zhang Fei's" white Pao ", but only the half personas like Guan Yu and Xiang Yu can be worn in the opera.

Zhang Fei thought to himself, "my second brother is dead. At last, it's my Dave's towel."

In addition, Huang Zhong wore the apricot yellow Python worn by emperors and was mistaken in color.

The wearing of the wrong clothes on these stage has been put forward by a few people, not only do they not attach importance to the norms, but also because there are not many real knowledgeable people.

Cheng bin bluntly said: "in fact, apart from doing this, amateurs seldom study this.

Now some lovers like to study and study, but many of them do not understand themselves.