新年的第一个月，荣获第十八届"文华剧目奖"的杭产话剧《北上》载誉归来，回到首演地杭州大剧 院。 已经记不清是第几次，谢平遥的扮演者李霆又剃了锃亮的光头，小波罗的扮演者梁枫重新把头发烫 成了羊毛卷。高光亮起，一艘贯通古今的大船缓缓上升，汤汤大运河的千年长歌再次响起。 三个月前，在中国舞台艺术政府最高奖的角逐中，这群平均年龄才30岁出头的杭州戏剧"新生代"， 带着纯粹的心、未竟的梦和相信的力量，实现了浙江话剧"文华奖"零的突破。 1/ 连轴加班、极限操作，团结起来是真团结！ 得知《北上》获奖的第一时间，李霆偷偷躲进剧场的卫生间，一个人泣不成声。"十多年前，我刚 入行不久，参演的作品就拿到了冲击文华奖的机会。可惜差临门一脚，与至高荣誉失之交臂。"一路走 来，起起伏伏，李霆感触良多，"年轻的时候懵懵懂懂，经历过了才明白这份荣耀有多来之不易。精品 是磨出来的，《北上》光是剧本就经过了9次修改。成功不是一次性的突破，而是一个持续的过程。" 2/ 政策"搭台"、青春"唱戏"，让所有人都站上舞台 年轻人要成名成家，要有让人记得住的作品。正如李霆所言，"是《北上》这部戏、谢平遥这个角 色，让大家认识了我、认可了我。" "我入团 ...

谷海慧 2025年的话剧是被文学滋养的艺术。审慎探索的原创、文学改编、经典复排、邀请展戏剧节上的重点剧目等，都表现出对文本的倚重，开启了一场舞台向文 本、戏剧向文学的"回乡"。 司徒慧焯导演粤语版《天下第一楼》剧照 李晏 摄 《小郡之秋》剧照 李春光 摄 原创 审慎的探索 2025年话剧原创情况算不上乐观。这样说，并非因为没有原创，而是缺少高质量、有影响力、能够代表人类精神生活高度的作品。不过，还是有一些作品在 艺术创新上孜孜以求，留下了自己的痕迹。 《躺平2.0》剧照 海淀阑尾 摄 《一地鸡毛》剧照 李晏 摄 李六乙导演《雷雨》剧照 李春光 摄 国家话剧院出品、李宜橙编剧、高蕾蕾导演的《牡丹亭上三生路》是2022年《三生路》的升级版。剧作的创新在于以青春视角表现杜丽娘内在生命意识的觉 醒。这次从小剧场提升为大剧场的演出，调整了舞台呈现，加入喜剧性和游戏性的元素，还使用了扇子、油纸竹灯、油纸伞等非遗道具。 国家大剧院新创、熊召政编剧、王瑞导演的《金中都》是"北京建都三部曲"之序幕。剧作以完颜亮迁都燕京为核心事件，展现了在义与不义相纠结、民族发 展与帝王野心相冲突的过程中，一个人如何走向自己的反面。一场场强冲突 ...

Core Insights - The "2025 National Drama Shanghai Performance Season" successfully showcased five plays, highlighting the revival of Chinese drama in its birthplace, Shanghai [1][4] - The relationship between the audience and the performance is emphasized as a core element of contemporary theater, with a focus on accessibility and engagement [1][2] - The appeal of "Chinese drama" to the younger generation is attributed to its cultural roots and modern relevance, making it fashionable even after years of performance [2][3] Summary by Sections Performance Highlights - The performance season featured five plays: "Four Generations Under One Roof," "Stories from the Drum Tower," "The Grand Mansion," "Live Broadcast of the Founding Ceremony," and "Beijing Fayuan Temple," with a total of 16 performances [1][2] - Each play reflects significant themes, such as national identity, cultural heritage, and historical narratives, appealing to diverse audience interests [2][3] Audience Engagement - The importance of the audience's experience is highlighted, with different viewers seeking education, entertainment, or a combination of both from the performances [2][3] - The concept of "cultural mobility" is introduced, suggesting that the audience's experience transcends geographical boundaries, connecting them to broader cultural narratives [4][5] Historical Context and Future Directions - The historical development of Chinese drama is acknowledged, with a call for contemporary creators to establish new classics for the 21st century [3] - The need for ongoing generational transmission of theatrical works is emphasized, with examples of long-running plays like "Beijing Fayuan Temple" serving as models for future productions [3] Economic Impact - The performance season is seen as a catalyst for local economic activity, transforming audience attendance into commercial benefits for surrounding businesses [5] - The initiative aims to create a sustainable cycle of cultural and economic engagement, enhancing the overall vitality of the arts in Shanghai [5]

Core Insights - The film "The Stage," directed and starred by Chen Peisi, has achieved significant box office success, surpassing 270 million yuan, with projections nearing 600 million yuan, marking it as a standout in the summer film season [3][5] - The film is based on a stage play that has been refined over ten years, performing over 360 shows since its debut in 2015, and has received a high rating of 9.0 on Douban, indicating strong audience appreciation [1][3] - Chen Peisi emphasizes a learning mindset in adapting to new filmmaking technologies and techniques, showcasing a commitment to detail and precision in directing [5][6][12] Film and Industry Context - The film industry has undergone a fundamental transformation from film to digital, with advancements in camera technology and lighting systems, which Chen Peisi acknowledges as a significant change since his last film over 30 years ago [6][17] - "The Stage" stands out in a competitive market without the backing of major stars or IPs, relying instead on a solid script and tight structure, demonstrating the importance of content quality in film success [3][5] - The film's production reflects a blend of traditional theatrical elements and modern cinematic techniques, with Chen Peisi's extensive experience in theater informing his approach to filmmaking [5][8] Creative Process and Directing Style - Chen Peisi prepared an extensive eight-page director's note for the actors, detailing the film's background, character development, and comedic structure, highlighting his meticulous approach to directing [12][14] - The director's hands-on involvement includes personally guiding actors and even demonstrating scenes, which he attributes to his background as an actor, showcasing a unique blend of roles in the creative process [15][20] - The film's narrative structure relies heavily on character actions and interactions, with a focus on maintaining the integrity of the comedic essence throughout the production [9][21]