"THE AUDIENCE'S FEELINGS ARE DIFFICULT TO EXPLAIN"
In fact, many audiences when buying tickets to see IDECAF plays often ask the first question: "Is Thanh Loc there?" or "Is Huu Chau there?". For example, with the program Once Upon a Time , young audiences love Thanh Loc, Huu Chau, Dinh Toan, their names are their whole childhood. For adult audiences, artist Thanh Loc is also associated with the beautiful beginning of the socialized theater, when the 5B experimental theater was just formed, many dramatic plays touched people's hearts. Thanh Loc appeared in Loi Vu (the role of Chu Xung, pure and innocent), in Tieng chim vuon magnolia (the role of Lu Dao Kinh, suffering because he could not live with his true gender), in Da co hoai lang (the role of Mr. Tu, anxiously missing his homeland and dying in loneliness)... Many extremely good roles have made Thanh Loc famous.
Meritorious Artist Thanh Loc in the play Tien Nga
Then Meritorious Artist Thanh Loc moved to IDECAF to join hands with producer Huynh Anh Tuan to build a new stage full of youthfulness, freshness, and dynamism. Thanh Loc appeared in most of the plays, including the early children's plays performed on small stages, not yet at Ben Thanh Theater. He played all the characters, devoted all his youth and strength, carving into the minds and hearts of the audience a familiar image to the point that it was difficult to separate his name from the stage space here. Next, Thanh Loc tried his hand at directing, producing luxurious, magnificent plays, becoming the pride of IDECAF, such as Secret of Le Chi Garden, A Thousand Years of Love, and Tien Nga.
Meanwhile, at Hoang Thai Thanh stage, artists Ai Nhu and Meritorious Artist Thanh Hoi are also loved and familiar to the audience. They "demand" that these two people perform in any play before they will buy tickets. Ai Nhu confided: "The audience's feelings are hard to explain, so even if Hoi and I don't play the main roles, we have to play supporting roles, and be present for a bit to make the audience happy. We always want to push the young people to play the main roles, and we will only be supporting actors, but we definitely cannot be absent, we dare not let the audience down."
At the World Youth Theater, audiences now ask for tickets by the names Minh Du and Dieu Nhi. Ms. An Thi, the theater manager, said: "In the early years of its establishment, audiences only came to see how good or bad the play was. But later, everyone demanded that there be artists A, B... The market developed like that, we had to accommodate. Luckily, our artists do not suffer from "star disease", or if they do, it is only a little bit of whining. As humans, how can we avoid feelings of joy, anger, love and hate, but living together in harmony is good enough."
Meritorious Artist Thanh Hoi and director Ai Nhu in the play Oan tinh ai thua
A HOUSE MUST HAVE COLUMNS
Every producer understands that in order to sell tickets, their stage must have big names, high-class artists that we usually call "stars". That artist may just be a comedian, but their influence is not small. That is why in the past, when the Cai Luong stage was still flourishing, the troupes greatly respected the "stars", inviting them back at all costs. Or if the troupe was founded by the artist's family, they would also put the star's name on the signboard. For example, the Thanh Minh - Thanh Nga troupe had the Thanh Nga - Thanh Sang couple, the Huong Mua Thu troupe had Ngoc Huong, the Da Ly Huong troupe had Bach Tuyet - Hung Cuong, the Viet Hung - Minh Chi troupe, the Thanh Duoc - Ut Bach Lan troupe, the Thong Nhat - Ut Tra On troupe, the Tan Thu Do - Tan Tai troupe, or the Kim Cuong drama troupe, the La Thoai Tan drama troupe, the Tuy Hong drama troupe... just by hearing the troupe's name, you know which "star" it was associated with.
People's Artist Bach Tuyet said: "The main actors and actresses are like two pillars of a house. A theater troupe must have a pillar to feel secure. That is the law of the market, it cannot be denied. As for how to have "stars" for the troupe, in the past, people wrote scripts specifically for that artist, only their performance would be successful, other artists' performances would not be as good. Now, scripts are written in a general way, anyone can perform, so it is difficult to have stars."
People's Artist Tran Ngoc Giau affirmed: "With theater, the collective nature is obvious, but the audience not only comes to watch the play but also has feelings for the artist, wants to see the artist. And sometimes the artist himself shapes the style for the troupe, for the stage. For example, Thanh Loc has created the style for IDECAF. And next to Thanh Loc, there is a group of artists who work together in harmony. Like a football team, there are star players, but the whole team must be in harmony to win. If we separate the star player to a new environment, it is quite difficult, we have to rebuild from scratch to have a collective that understands each other."
The relationship between investors, stage managers and star artists is a mutual one. The managers need the stars to ensure revenue, and vice versa, the stars also need the managers' investment to shine and establish themselves. For the stage to develop and stabilize, it is necessary to create and maintain this "relationship" for a long time.
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