Guangzhou Daily All-Media Reporter Huang An

　　"This comrade, would you like to join me … …” As soon as the voice fell, the actor took the audience’s hand and walked into the museum, returning to the stormy Guangzhou Uprising in 1927 — — The 1927 Guangzhou Uprising, which is being performed in Guangzhou Uprising Memorial Hall, is an immersive drama created by Guangdong Revolutionary History Museum, which combines red culture education with art popularization. In just 45 minutes of performance, the audience shuttled with the actors in different areas of the museum, watching, feeling and experiencing the plot at zero distance. This innovative attempt made the memorial hall glow with new vitality and the number of receptionists surged.

　　"Zero distance" touches history, and the audience becomes part of the performance.

　　The Guangzhou Uprising in 1927 carried the banner of "Red Army of Workers and Peasants" for the first time in history, which set a precedent for urban-rural cooperation and armed uprising jointly held by workers, peasants and soldiers. The Soviet government in Guangzhou established in the uprising is known as "Paris Commune in the East".

　　Guangzhou Uprising in 1927 is an immersive drama created by Guangdong Revolutionary History Museum based on the history of Guangzhou Uprising. The whole drama is based on the place where the Guangzhou Uprising once took place — — Guangzhou Commune is the stage, and the audience is there, touching the grandeur and passion of history at zero distance.

　　In the first act of the performance, the Guangzhou uprising started. In the courtyard, characters such as "A Hui", "A Zheng", "Qiang Zi", "Hui Fang" and "Guo Hua" appeared one after another, calling on the audience to join their team. "Comrades, would you like to join me in the Guangzhou Uprising?" "I do!" The audience, already immersed in the historical situation, let go of their voices. Wearing the red cloth belt with the symbol of Guangzhou Uprising and taking the sickle and axe, the audience opened the door of history and started a dialogue with the revolutionary ancestors through time and space.

　　With the development of the plot, there are more and more interactions between actors and audiences, and the viewing scenes are constantly changing. Sometimes, in the Tianzi Wharf where bullets rained, I felt the fierce struggle between the female soldiers and the enemies several times as many as myself; Sometimes in front of the bright red party flag, I relive the solemnity of the pledge to join the Party. In order to rescue the revolutionary, the audience divided into two ways, and all the way followed the workers and peasants in the play to attack the fortress. All the people felt the tension of the great shift of the battlefield in the hurried footsteps. After hard fighting, the Soviet government in Guangzhou was finally established. Amid the cheers, the audience and the leading actor sang "The Internationale" passionately, and the passionate songs fluttered high above the memorial hall.

　　Walking out of the theater, the audience Ms. Su is still red-eyed. She told reporters that she was very moved: "I couldn’t help crying when I saw the scene of Huifang’s sacrifice. Without the sacrifice of revolutionary ancestors, there would be no happy life for us today." Xiao Wang, a post-90s generation, believes that replacing historical explanations with dramas is more vivid and lively, which makes young people closer to that period of history and realizes the revolutionary spirit of heroic ancestors who struggled hard and were not afraid of sacrifice.

　　Speaking of the creation of this drama, Wang Yuhan, the general director of the drama, said that unlike the artistic concept of "above life" in traditional drama, works with red themes must strictly follow historical facts, and nothing inaccurate or untrue is allowed. To this end, the crew visited historical experts and related units, constantly combing, and finally changed eight drafts before setting the script.

　　The bigger challenge is the design of the circuit. During the performance, the actors must lead the audience to shuttle up and down different exhibition halls. However, the space of the memorial hall is limited, and the beauty of music and dance is also limited. How to make the plot coherent under the constraints of the objective environment, and even a tree, a staircase and an exhibition hall can be used reasonably to serve the plot? In this regard, the crew went to the field for many times to explore and design, and finally solved the problems one by one.

　　The main creation comes from the local folk troupe, and the post-90 s young people are the main force.

　　Li Yuehui, the leading actor, recalled that there was a scene where he was standing by without his part. Suddenly an acquaintance came over and greeted him: "But I can’t jump out of the scene to talk to him. I have to be a role in the play. I can only pretend not to hear him and ignore him." "In the middle of another performance, a child suddenly hugged my thigh. He just liked your performance. At this time, I had to use the experience of the actor to improvise."

　　Li Yuehui, who has been engaged in drama for more than 20 years, believes that immersive drama breaks the "fourth wall" of traditional drama viewing mode in performance form and blends actors and audiences in one atmosphere. Facing the audience close at hand and within reach, this tests the actor’s sense of faith and professionalism.

　　Except Li Yuehui, most of the actors in the play are from Guangzhou folk professional drama performance groups — — Greek Troupe, which is dominated by young people, and 90% of them are professional actors who graduated from acting classes. Among them, Wang Fang, who plays "A Zheng", is a "post-90 s" who graduated from the Performance Department of Shenzhen University. In order to prepare for his role, he not only deeply understood the history of the Guangzhou Uprising, but also required himself to practice walking posture and eyes according to the standards of a soldier.

　　Wang Fang said that acting in this drama is actually a vivid patriotic education for himself. He recalled that in a performance, he once met an old audience: "I needed to salute the audience in the play. When I saluted him, the old man gave me a military salute in particular, and my tears stopped."

　　Speaking of this group of young people, the general director Wang Yuhan admits that he can feel their progress every day: "This performance requires the actors to have strong energy. At first, I was a little worried, but later I found that they were not bad at all. Some just graduated from college, and some came to apply for this troupe after working for several years, but they all had a passion for young people and their eyes were full of a desire to learn."

　　Wang Yuhan said that these post-90 s and post-95 s actors will have a certain distance from that period of history. In order to let the actors understand the choices of the young people in the play, the actors first conducted training and study for about three months, and went to Guangzhou Uprising Memorial Hall and Huangpu Military Academy to study before they started rehearsing. In order to cultivate the actor’s ability to deal with the crisis, Wang Yuhan chatted with the actor every day ten days before the premiere to simulate possible problems. These young people are very active in thinking and will propose a good solution: "The experience of these twenty performances is not only valuable experience for them, but also a win-win thing."

　　Activating history, the "red explosion" has received enthusiastic response.

　　Together with Nanchang Uprising and Autumn Harvest Uprising, Guangzhou Uprising became a great beginning for the Communist Party of China (CPC) to lead the revolutionary war independently and create the people’s army. Guangzhou Uprising represents the revolutionary spirit of the people of Guangzhou who dare to fight and be the first, and also reflects the important historical position of Guangzhou in the modern revolutionary history, which is an important part of Guangzhou’s history and culture.

　　As a story about the city and people of Guangzhou, The 1927 Guangzhou Uprising combines a lot of cultural elements of Guangfu. Participants can find familiar Guangzhou place names, classic songs, daily necessities and costumes with a sense of the times.

　　It is reported that "1927 Guangzhou Uprising" has received enthusiastic response since its premiere in July, and the drama schedule in July will expire as soon as it is announced. Due to the limited space, 40 people are expected for each game, but in the end, 70 or 80 people will come. There is an old man the same age as New China — — Mr. Kong, after knowing the performance, specially came from Huangshi Road to watch it. In addition, the Guangzhou Uprising Memorial Hall also launched a special session for disabled people, primary school students, retired military personnel and other groups. As of August 14th, there were 20 performances, 46 reception groups and 1668 audiences.

　　Chen Heyi, director of the mission department of Guangdong Revolutionary History Museum, said that the combination of red theme and immersive drama can be said to be the first in the country. At the end of each performance, volunteers will distribute questionnaires to the audience to collect their opinions and suggestions, and the museum will also hold meetings to discuss, exchange and constantly polish. Now this version has made great breakthroughs in all aspects, which can be said to be a leap from version 1.0 to version 3.0.

　　Participation Mode of Guangzhou Uprising in 1927

　　"1927 Guangzhou Uprising" was performed free of charge at the Guangzhou Uprising Memorial Hall. Interested audiences can pay attention to the performance schedule and make an appointment to participate through WeChat WeChat official account "Modern Guangzhou".

Text | Ten o’clock movie original

I have seen it in advance, and I haven’t recovered for several days at ten o’clock.

Sometimes my heart is surging, and sometimes my eyes are full of tears.

Every time I think back, I will shed my own tears because of this story of others.

In the comment area,"Sincerity, delicacy and warmth", has become a common feeling for all.

Some people say: after reading it, there is a kind of warmth that goes straight to the heart.

Look, its title has been intimately told to us.

This is a journey of "loss and search", with a beginning and an end-

The story originated from two mothers:

60 years ago, a man namedDu sihengSome of the girls went to orphanages.

Sixty years later, my mother was suffering from Alzheimer’s disease and her consciousness was confused.

But what she is thinking about is the daughter she never saw again in her life.

She went to look for it alone, but she never got what she wanted.

Now, my brother Du Sihan shouldered this heavy burden and went to Inner Mongolia grassland to find his sister.

He never thought that the end he was looking for was not just his sister.

There is also a pure maternal love of "3,000 orphans entering Inner Mongolia".

Film, about a past event.

Three thousand orphans entered Inner Mongolia.

Briefly explain:

In the difficult period of 1960, the south was seriously affected, and a large number of orphans appeared. Facing these helpless children, Inner Mongolia not only undertook a lot of material assistance, but also the herdsmen opened their vast arms. There were almost 3,000 orphans from nursing homes in Shanghai and Changzhou. They took a series of trains going north and crossed more than half of China to Inner Mongolia, and formed a new family with simple and kind herders.

The Grassland at the End of the Sea is directed by Tung shing Yee, starring Chen Baoguo, Masu, Ayanga, Wang Qiang and Luo Yichun.

In ten o’clock’s view, this film is completely different from Tung shing Yee’s past realism and shock.

In "The Grassland at the End of the Sea", what he presents is unprecedented softness and delicacy.

On the way to find it, my brother Du Sihan found a comrade from Inner Mongolia who came to the orphanage that year.

From their mouths, explore the road that my sister walked in the past.

From the distant Shanghai, where the mother’s shadow remains, to the vast grassland with different scenery.

In the yellowed old photo album, in the mouth of the staff who had taken care of orphans in the south, my sister’s face gradually became clear.

That is a stubborn child, always holding a small towel in his hand.

She was not acclimatized and fell ill on the way, and she didn’t get better for a long time.

It is also here that a pair of gentle hands took over the burden of taking care of Du Siheng.

child-care workerRenna Sa(Masu).

It is with these hands that the stubborn Du Siheng’s eyes gradually fell to the land under his feet from looking far away.

Under the loving care, she gradually got better and stronger.

The stubborn Du Siheng also fled again and again.

But she found that no matter how you cross the mountain and the sea, when you turn back, there is someone still waiting for you.

It belongs to Renna Sa’s arms. It is bloodless, but warm as a mother’s arms..

Motherly love, where does it come from and where does it belong?

Is it due to the hardship of pregnancy in October, the firm fetters of blood relatives, or is it born from the feelings raised for many years?

Perhaps for many people, there is always no solution.

But for Renna Sa, once a mother, she will always be a mother.

As long as the mother is there, it will give warmth to the children’s home.

Even if this home is not natural, it is never the most perfect circle in the ideal.

As a mother’s pain, in the film like a breeze:

Renna Sa’s husband is a militia, because he has been away for many years, and his own son Namuhan burned his throat with a high fever when he was a child.

But as a mother, the process of opening her arms to Du Siheng was so simple and natural.

When God pushed the young Du Siheng to her, she just knew:

Taking good care of this child has become a part of her life.

Du Siheng can’t speak Mongolian, and even his own name can’t be understood.

She wrote her daughter’s Chinese name in the booklet she carried with her, and went to class with her daughter to learn the pronunciation of Du Siheng’s Chinese name, hoping to communicate with her daughter in Chinese.

Children in the south can’t get used to the food on the grassland.

Du Siheng took a bite of the greedy milk tofu of his brothers and vomited.

Even with the sweet milk tea, I spilled it on the ground and turned my head and ran.

She is like a wounded little beast. It is unspeakable pain for her to escape from behind.

When he said nothing, Renna Sa knew everything.

She didn’t blame or be disappointed, but let her brother Na Muhan catch up with Du Siheng and bring the injured child back to her mother’s shelter.

It is precisely because this love is not thicker than water, but selfless as the sea, which contains everything.

It also allowed this past event 60 years ago to dispel the painful sensation.

To sprout, grow and heal with feelings again, and replace them.

They say that herders on the grassland believe in fate.

The details that you remember at ten o’clock are also a story about fate.

Yi Deer, her husband, returned from a military vacation and took his wife and children to visit Uncle Oqir, who had no relatives or children.

Yi Deer said that he and Uncle Oqir’s son were once good brothers who grew up together.

When faced with a prairie fire, Uncle Oqir’s son saved his life, but he died in the fire.

The most important person in life has left, and what remains for us is not only loss.

What Du Siheng sees is the tender love that can’t be burned by the fire, and ties the fate with us again.

Little Du Siheng, in the eyes of Yi Deer, may also gradually coincide with the shadow of his former friends.

When family ties take root and sprout, wherever love can touch, it is the warmth of healing.

The maternal love in "The End of the Sea is the Grassland" is the spring breeze of the grassland to melt the rain and heal the scars.

It is also the stubborn recovery of the lost past by the biological maternal love, which never forgets and eventually echoes.

This trip to find relatives implies an unexpected ending.

Don’t worry, you don’t spoil it at ten o’clock.

Only the last scene of the film, it must be said, brought us endless touching.

Renna Sa, a 100-year-old foster mother, stood on the grassland to requite her "sisters" who had never met before.

Two mothers raise a daughter together. They never know each other, but they share a common maternal love.

Start with a search and end with peace of mind.

Love has brought the children so far that it is not just a miracle between two mothers that is finally born.

"Three thousand orphans enter Inner Mongolia", literally three thousand, actually includes tens of thousands of orphans sent to Inner Mongolia.

There are tens of thousands of mothers behind this, separated from their children in the pain of the times.

The children lost a mother, but gained love and protection in the broader national mind.

Here, in more than 500 days, 28 orphans were raised in Guima.

Zhang Fengxian, a heroic mother who adopted six children.

One by one, one alive, one strong.

The source of maternal love is blood.

However, maternal love is passed on from process to process, and finally transcends blood relationship and is passed on to children who are eager for love.

This is its natural place to come and the most natural place to return.

The pictures in this article are from the Internet. If there is any infringement, please contact and delete.

"Three thousand orphans in Inner Mongolia" has been written into history. Today, it is still a miracle rescue.

And "The Grassland at the End of the Sea", which recorded this history, has also been endowed with unique power by history.

For the audience, when they walk into the cinema, it not only meets our expectations of domestic films.

It is an eternal desire to fill people’s hearts:

After reading it, it seems to be bathed in the love that naturally comes, and my heart becomes soft and open.

This may be the power of warmth.

Bring courage and hope.

We will always be on this road of life, looking for the source of love and the direction of home.