Interview with Wei Haimin, she played the role through ancient times, women's cute hate so have a story. She made us begin to imagine what a great actor could look like.

Who is more qualified than Wei Haimin to play Wei Haimin as an actor?

She is the Beijing Opera artist, Mr. Mei Wei's disciple, the head of the Guoguang Troupe Qingyi. She is a hundred years ago, a hundred flower pavilions, hope not Toming Emperor Tang Ming, drink alone to worry about Princess Yang Gui, is also the Greek tragedy for love elopement, because of hate relatives, under the sword are because of feelings of Mitia.

Wei Haimin played the role through ancient times, each era of women have a story, their sadness, cuteness and hateful veins. Now, she will play Wei Haimin in 2020 TIFA's "Millennium Stage, But I didn't live much" - see how an actor was born, Wei Haimin is why, became Wei Haimin.

She entered the drama school at the age of 11, studied the traditional Meipai, and continued to try to innovate Beijing Opera, and for more than 50 years, her life has been inextricably linked to drama. In front of me, Mr. Wei Haimin, raised his hands and feet are like a play, perhaps confirming her sentence: "Take it from life, and above life, this is the art performance." 」

A woman's life can also have ambition and desire.

I had imagined how an actor, in the torrent of history, could accurately capture the female pattern? Mr. Wei Haimin said with interest that even if the play presents only a small story, you have to interpret it as a woman's life.

Take the classic "Queen Drunk", how many things does this character have in his life? And why did it become a play? Tang Ming Emperor asked Yang Guifei to meet in the hundred flower pavilion, but finally, but did, the princess drunk, presented is the loneliness and sorrow after that - the woman's joy and sorrow all can not be by themselves, but also can not be in front of the palace female eunuch gaffe.

"Yang Guifei was upset, but she had to be calm in front of others. That is, when she drinks, pick up the glass, but also to see the eunuchs: did you look at me? Don't look at me. The teacher raised both hands, hands like holding a wine glass, played a small section - after a drink, eyes staring side, and then drink again, drink again.

That letter hand to hand, imitate the chaise drunken appearance, I wrote this interview, still in the eye.

"We say these actions of the opera, ah, emotions, are extracted from life, not out of thin air. 」

She says that in traditional May-girl performances, more often in depicting the beauty of women, but rarely insatiable, but in 1986 she had the opportunity to take over the experimental and innovative Beijing opera "Sex and the City Of The Land", which is adapted from Shakespeare's tragic "Macbeth", from the form of performance, musical material to character, the challenge is all-round, of course, This also includes how to describe a woman's desires, a woman's ambition: "This is completely different from the beauty of the traditional play, or deliberately to visualize the beauty of things." 」

In 1993, the successor to "LouLan" Mitia is a breakthrough for Wei Haimin. Not only because the Greek tragedy's performance is different from the traditional Beijing opera, she laughs, she always felt that the love and hate of the heroine is too far away from their own, dare not promise to perform, is later had the courage to accept change.

"Mitia abandoned her family for his lover, even killed her brother, and was betrayed by her lover. Lou Lan is the same as her ideal and love, the hope of life are put in this love. 」

Her tone rose, and Mitia in the drama: "Finally she killed her own child, avenge her husband, and she let stake him: The pain you are suffering now is the pain of being betrayed, you don't say you don't know, don't say you don't feel it." 」

Wei Haimin said it took her a long time to figure out how to understand her emotions. In addition to seeing Mitia's evil, but also to see the tragedy behind, a woman has her hopes, her pain and struggle. So the female story began to have a more three-dimensional image.

An innovative change must begin in conflict

The emergence of "Sex and the City" in the 1980s, because Wei Haimin is one of the actors' challenges, but also the turning point of the change of traditional Beijing opera, the drama evaluation of the poles, some people see them bumpout inglate to the cracks, green shoots, foresee the future of Beijing Opera, but in the traditional Beijing opera audience, this is like a deviant teenager, and thus suffered from various criticisms.

But what year was it in 1980?

Wei Haimin, who was born in Taiwan and grew up in Taiwan, says the social environment has had a big impact on her: "Society is developing, actors are developing, Taiwan's economy is taking off, we're all going up, and everyone's going up." She recalls that the value that society as a whole was constantly conveying was that "you have to change", that the market would get smaller and smaller without changing, sticking to the rules, and clinging to the broken.

In the wave of criticism, she gradually discovered: "If you do one thing, take it for granted, it has no power." Change is to be done in the right and the back of the debate, like "City of Desire." If we didn't do it then, there wouldn't be a freer creative atmosphere that would allow us to innovate. 」

She affirmed, "If you don't do it then, there will be no me today." 」

Therefore, Wei Haimin was able to walk between tradition and innovation, try ingenuity, even this "Millennium Stage, I did not live much", is also in the form of "record theater", in "Millennium Stage", actor Wei Haimin like a book, was dissected into a number of chapters, to find the past, how to influence and make this actor now.

Next: Interview with Beijing Opera artist Wei Haimin: I didn't hate my mother, but I want to hear her say sorry