今年是中沙建交35周年，也是首个中沙文化年。此次演出是"2025中沙文化年"框架下的重要演出之一。 从旋律优美的中国民歌《茉莉花》、京剧名段《贵妃醉酒》，到英国民谣《斯卡布罗集市》、法国交响 乐曲《大海》，再到阿根廷探戈名曲《一步之遥》、巴西民谣《月亮圆圈舞》，以及奔放的非洲歌曲 《祝愿》等，国家大剧院合唱团选取几大洲经典曲目，以丰富的层次和多元的文化视角描绘出一幅动人 的世界音乐画卷。 阿卜杜勒阿齐兹国王世界文化中心表演艺术部门负责人保罗·贝恩称赞国家大剧院合唱团表现出色，"曲 目跨越大洲，体现了音乐团结人心的力量，为观众带来丰富体验"。 《 人民日报 》（ 2025年12月24日 03 版） "音乐越国界，文化架桥梁。听到现场观众热情的掌声和欢呼声，我们备受鼓舞，虽然语言不通，但音 乐让大家找到更多情感共鸣。"国家大剧院合唱团团长及驻团指挥焦淼表示，希望通过此次表演促进大 家对不同文化的了解。 音乐会上，沙特克罗拉合唱团同中国音乐家共同演唱经典阿拉伯语歌曲《有多少人在那里》和中文歌曲 《歌声与微笑》。克罗拉合唱团成员阿斯玛说："这是我第一次演唱中文歌曲，和中国同行共同表演的 经历让我难忘。"合唱团成员阿布 ...

在中国与沙特阿拉伯王国建交35周年之际，应沙特阿拉伯阿卜杜勒阿齐兹国王世界文化中心邀请，国家 大剧院合唱团于近日赴沙特举办首次巡演。 演出现场 从古代丝绸之路上的悠悠驼铃，到今日"一带一路"倡议与沙特"2030愿景"对接的宏阔图景，中沙文明交 流已有千年。此次举办音乐会的场馆为坐落于沙特东部省达兰的阿卜杜勒阿齐兹国王世界文化中心，这 是一座集博物馆、剧院、创意实验室、电影院、图书馆及教育设施的综合文化地标，也是沙特最具影响 力的现代文化机构之一。此次音乐会是该中心首次邀请中国艺术团体到访。 阿卜杜勒阿齐兹国王世界文化中心 合唱作为一种跨越语言藩篱的艺术形式，以其自然的表达形式、纯粹的人声和声，搭建连通心灵的桥 梁。国家大剧院合唱团为此次巡演策划了《中国国家大剧院合唱团"环球之旅"音乐会》音乐会由合唱团 总经理兼驻团指挥焦淼执棒，中国国家大剧院副院长王成出席。这场音乐会选取五大洲经典民歌、艺术 歌曲，展现着文化的多元视角。 演出现场 音乐之旅从东方的真挚情感启程，中国民歌《茉莉花》，以其优美旋律描绘出江南水乡的温婉气质； 《在那遥远的地方》唱出游牧民族的苍茫情怀；京剧《贵妃醉酒》选段则展现独特的中国古典音韵。 ...

Core Viewpoint - The article discusses the film "You Can Do It!" directed by Jiang Wen, highlighting its unique storytelling and the personal experiences reflected in the narrative, particularly focusing on the relationship between the father and son, represented by the character Lang Lang and his father [3][6][9]. Group 1: Film Overview - The film "You Can Do It!" is directed by Jiang Wen, who is also the writer, actor, and editor, showcasing a strong personal touch in its creation [3][6]. - The film has received mixed reviews since its release, with box office performance not meeting expectations compared to other films [6][9]. - The narrative is inspired by Lang Lang's autobiography "A Journey of a Thousand Miles," emphasizing the importance of focus and dedication in achieving success [9][11]. Group 2: Themes and Symbolism - The film uses the metaphor of making dumplings to illustrate the purity of the creative process, suggesting that the act of creation is more important than external validation [5][7]. - Jiang Wen incorporates elements from his previous works, such as the rooftop motif, symbolizing the boundary between ordinary life and the pursuit of dreams [16][17]. - The film's music and piano performances are designed to evoke the characters' emotional states rather than serve as mere auditory enjoyment, reflecting the intensity of their experiences [13][14]. Group 3: Character Dynamics - The relationship between Lang Lang and his father is central to the film, showcasing a blend of conflict and support as they navigate the challenges of pursuing a musical career [11][19]. - Female characters in the film, such as Lang Lang's mother and a teacher, are portrayed with depth, contributing to the narrative's exploration of family dynamics and emotional connections [25][26]. - The film concludes with a reflection on the mother's influence, suggesting a nuanced understanding of gender roles within the family context [30][32].

Core Viewpoint - Director Jiang Wen's new film "You Can! You Go!" has been released in the summer season, showcasing his creative evolution as he takes on multiple roles in the production process, including writing, directing, acting, and editing [1] Group 1: Film Overview - The film features a narrative inspired by pianist Lang Lang's autobiography "A Journey of a Thousand Miles," emphasizing the theme of overcoming challenges without resorting to violence [4] - The film has received mixed reviews since its preview, with box office performance lagging behind other films like "Lychee" and the animated "The King's Avatar 2" [2][3] Group 2: Character Dynamics - Jiang Wen plays Lang Lang's father, who emphasizes the importance of focus and dedication in pursuing success, as illustrated through the metaphor of making dumplings [2][5] - The film includes a significant absence of dumpling visuals, contrasting the father's insistence on the importance of the process over the outcome [5] Group 3: Visual and Thematic Elements - The film employs recurring motifs from Jiang Wen's previous works, such as the rooftop setting symbolizing freedom and rebellion, and the dynamic visual style that emphasizes upward movement and aspiration [9][10] - The character dynamics reflect a blend of humor and seriousness, with exaggerated character designs serving to quickly establish personality traits [11] Group 4: Female Representation - The film features female characters that embody Jiang Wen's idealized vision of women, with roles that contribute to the narrative's emotional depth [14][15] - The portrayal of Lang Lang's mother and a schoolteacher highlights the complexity of female roles in Jiang Wen's storytelling, moving beyond a simplistic male perspective [19][20]

Core Viewpoint - The article discusses the controversial reception of Jiang Wen's latest film "You Can! You Go!" and critiques its storytelling and character development, suggesting that it lacks depth and coherence compared to his previous works [11][12][36]. Group 1: Film Overview - "You Can! You Go!" is Jiang Wen's seventh independent directorial work, released seven years after "Evil Can't Suppress Justice" [6]. - The film is perceived as the most controversial of Jiang Wen's career, receiving a significant amount of negative reviews, particularly on platforms like Douban [11][12]. - The narrative superficially follows the life of pianist Lang Lang, but is criticized for being more of a chronological account rather than a compelling story [19][21]. Group 2: Character Analysis - The film focuses more on Lang Lang's father, Lang Guoren, rather than Lang Lang himself, portraying the father's psychological journey in raising his son [26][30]. - Other characters in the film are described as overly simplistic and lacking depth, serving merely as tools in the narrative [28][29]. - Jiang Wen's portrayal of Lang Guoren is seen as a mix of affection and authoritarianism, diverging from the more oppressive image typically associated with the character [30][71]. Group 3: Critique of Style and Technique - The film is criticized for its lack of engaging storytelling and technical execution, with claims that it feels rough, tedious, and lengthy [36][65]. - The article suggests that Jiang Wen's previous films, even without deep metaphors, were still captivating, whereas this film fails to engage the audience [35][36]. - There is a notion that the film's design and metaphorical elements come off as superficial and poorly executed, leading to a lack of meaningful engagement with the audience [34][42]. Group 4: Audience Reception and Expectations - The audience's trust in Jiang Wen has diminished, with many feeling that the film's themes of paternalism and masculinity are outdated and unappealing [78][79]. - The article implies that Jiang Wen's attempt to convey deeper meanings through the film may come off as pretentious, alienating viewers [42][79]. - There is a call for Jiang Wen to reconsider his approach to filmmaking, suggesting that he should focus on understanding the audience rather than imposing his narrative [80][81].

Group 1 - The article discusses the current state of the Chinese film industry, highlighting a record low daily box office of over 40 million, marking the lowest since records began in 2011 [1] - It suggests that the pandemic has led to a shift in perception, where low box office numbers are no longer seen as problematic, indicating a new norm for the industry [2] - The article emphasizes the importance of genre films as a potential solution for the challenges faced by Chinese cinema [3] Group 2 - The frequent appearances of filmmaker Jiang Wen at events like the Beijing International Film Festival are noted, indicating he has a new film coming out [6][7] - Jiang Wen's unique position in the industry is discussed, with the article suggesting that his individual value is irreplaceable, but his insights may not be as relevant for current filmmakers [9][11] - The article critiques Jiang Wen's recent public engagements, describing them as lacking substance and not providing valuable insights for the industry [13][17] Group 3 - The article reflects on Jiang Wen's creative philosophy, emphasizing talent and individual expression over technical aspects, suggesting that directors should focus on their unique voice [30][32] - It highlights the importance of scriptwriting in filmmaking, with Jiang Wen stressing the need to consider the environment and historical context of characters [35][36] - The article points out a disconnect between Jiang Wen's artistic vision and the technical execution in his recent works, suggesting that this is a broader issue within the industry [38][41] Group 4 - The article discusses the challenges faced by the Chinese film industry, particularly the need to cater to audience preferences while also pushing creative boundaries [58][63] - It suggests that the industry lacks films that are both innovative and traditional, which could appeal to a wider audience [65][67] - The article concludes with a call for filmmakers to better understand audience desires and to create content that resonates with them, rather than solely focusing on artistic expression [47][55]

Core Viewpoint - The film industry is facing challenges due to a lack of originality, with many films becoming too similar to one another, which diminishes audience engagement and interest [1][4]. Group 1: Industry Challenges - The phenomenon of films being too similar has become a negative asset for the film industry, with complex causes and varied manifestations [1][4]. - The issue of similarity is not just about the films themselves but also about the relationship between films and the world, emphasizing the need for creativity rooted in human life rather than imitation of other works [4]. Group 2: Creative Dynamics - The concept of "author cinema" proposed by French critic Truffaut highlights the importance of individual expression in filmmaking, yet it has led to a trend of filmmakers trying too hard to be different, resulting in a new form of similarity [2]. - Successful genre films should balance familiarity with originality, where a certain degree of similarity is acceptable, but there must also be unique elements that allow them to stand out [1][2]. Group 3: Recent Film Examples - The film "大风杀" directed by Zhang Qi attempts innovation in the crime and western genres but suffers from weak story and theme development [3]. - "猎金·游戏" and "人生开门红" showcase a clear pursuit of originality, but they struggle with fragmented plots and disjointed character relationships, failing to effectively explore the themes of similarity and difference [3].