Stage plays need a contemporary breath

Ensuring contemporaneity in stage scripts is a major challenge for every writer today.

Within the framework of the Stage Script Writing Camp organized by the Vietnam Stage Artists Association in Tam Dao ( Phu Tho ) recently, the workshop "Stage scripts with contemporary themes: Current situation and solutions" took place enthusiastically.

Looking directly at the "bottlenecks"

At the workshop, the authors discussed many practical issues, addressing concerns about the need for the stage to have more contemporary scripts, closely following the breath of life, and having interactive criticism with the young audience. According to them, first of all, it is necessary to determine whether the form of staging and script material are reasonable and of good quality or not.

Author Le Thu Hanh said that after graduating from university, she mostly only approached the research field, then followed the path of film criticism theory, so she always had to research and learn. What she often worries about is that up to now, art schools in Ho Chi Minh City have not been able to open screenwriting classes, leading to many scripts with declining quality.

"Training for young authors is an important issue. I am very happy to know that the Vietnam Stage Artists Association is about to organize a training course for young authors, directors and critics in Ho Chi Minh City. This will be a nursery for many writers and passionate young people, so that they can contribute and create for the stage" - Ms. Le Thu Hanh hopes.

According to author Hong Yen, who studied screenwriting in Korea, anything written that is outdated should be discarded. The "secret" she learned from Korea is to write what others have not written, so that it is fresh and contemporary.

People's Artist Giang Manh Ha, Vice President of the Vietnam Stage Artists Association, talked with delegates attending the workshop on the morning of October 14.

Author Truong Minh Thuan expressed concern that the Mekong Delta has now become a "lowland" for cai luong scripts because many writers are old. Without training and coaching, young writers will find it difficult to maintain the passion to continue the tradition of cai luong theater, especially when royalties and remuneration are not commensurate. "I hope to attend writing camps like this to gain experience, mature, and contribute to helping the Mekong Delta have more contemporary cai luong scripts" - the author from Vinh Long confided.

Author Minh Nguyet believes that the Vietnam Stage Artists Association should organize writing camps specializing in contemporary themes. Each outstanding script should only be staged in two forms: spoken drama and opera, leaving the rest of the opportunities for other authors. In fact, there are writing camps that produce 2/3 of the works with contemporary themes, but many art troupes do not choose to stage them "because they are shy".

From the Army Drama Theater - which has just successfully organized a Professional Theater Festival on the image of the People's Public Security soldier, author Vu Thu Phong pointed out the reality that many contemporary scripts just put into the mouths of characters big and far-fetched words, making it difficult for the audience to patiently sit and watch. Meanwhile, traditional scripts are still stuck in the same rut. To revive contemporary themes, organizing writing camps or theater festivals will create a source of scripts that are welcomed by the audience, especially the young.

According to author Nguyen Toan Thang, many writers are "heavily delusional", often comparing their work with other professions. He also said that he has seen 10 productions of "The Miser" on Vietnamese and international stages to compare. "Staging with a new form will create bright spots, solving the problem of how to achieve contemporary character in the script. For authors, it is necessary to look at whether their script is of good quality; whether the dialogue is contemporary or not..." - he frankly said.

Express your own perspective and meet the audience's needs

At the above seminar, many experts, scriptwriters and directors raised the question: What is contemporary in stage scripts? Ensuring contemporary in stage scripts is a big challenge for all stage scriptwriters today.

Author Nguyen Thu Phuong believes that the limitation of knowledge and academic thinking of the team of authors is the key. Most of the current stage script writers are not really proactive in studying, updating knowledge and systematically improving their expertise. Many people are satisfied with the success and results they have achieved, are afraid of innovation, and even tend to reject and reject creative trends because they do not understand or are afraid. They choose to write about safe topics such as history, famous people, and traditions - which are easily accepted and have low risks.

This causes the stage to lose its breath of the times, lose its social criticism and distance itself from issues that the public is concerned about. The so-called "safety" is actually a regression. Many scripts lack integration with the contemporary flow and theatrical life. "A worrying reality is that many authors do not care who their audience is, do not watch popular plays, do not learn about the trends of young directors, new staging languages ​​or the expressive ability of modern actors... While young directors experiment with many new forms: black stage, pantomime, 6D lighting applications... most authors do not understand what they are doing, do not write scripts for them" - author Nguyen Thu Phuong worries.

On the other hand, many authors have the mentality of "looking down" on plays aimed at the general public, thinking that it is "market" and not "art", while they themselves have not tried to reach the audience to see what they need and think. In addition, many writers also create works to follow competitions, movements, events...

The workshop ended with a heartfelt message: Scriptwriters should always express their own perspective to meet the needs of contemporary audiences. This is a reminder and also a direction for the future of theatre in a new landscape.

People's Artist Giang Manh Ha, Vice President of the Vietnam Stage Artists Association, commented: "If the script simply recounts a story or illustrates the past, there is no need for a stage. The stage needs a script that is predictive, dialogue-based, and interactive with the audience."

Source: https://nld.com.vn/kich-ban-san-khau-can-hoi-tho-duong-dai-196251014220105285.htm