CC BY
0
GLOBAL SOCIETY
Prof. Ph. D. Dao Manh Hung
VIETNAM TRADITIONAL STAGE AND THE ACQUISITION AND INFLUENCE OF FOREIGN STAGE OF FOREIGN STAGE IN DEVELOPMENT PROCESS
Abstract: the exchange and development process of Vietnamese stage with world stage is in the process of the exchange between Vietnamese culture and world culture.
A very important characteristic in the cultural exchange process of Vietnamese is that under any circumstances, Vietnamese artists not only don't lose their national identity but also know how to apply world quintessence to enrich national art.
Keywords: Vietnam, culture, Russia, Traditions
The integration process of Vietnamese culture can be systemized through four times of integration with the major cultures of the world as follows:
* The first time with Indian culture through the Buddhism spread.
* The second time with Chinese culture through the Confucianism spread.
* The third time with Western culture, specified as French culture and Christianity.
* The fourth time with the Soviet Socialist culture.
In the general context of the national culture, through the exchanges and integration of traditional stage, it also absorbed the influence of world art and culture for self-improvement.
Kindly stated some basic points around this issue:
1-1. The first cultural integration - an outline of the Vietnamese Buddhism history and the Buddhism role in the Vietnamese thought history:
Buddhism - the oldest of the three religions in the world, Buddhism appeared 5 centuries before Taoism and 1200 years before Islam. But the problem is not only the appearance many years earlier, but also the influence on the cultural life of the Buddhism nation.
Folk performances were appeared at the i time of transfer between the Van Lang-Au Lac cultural period and the period of domination by northern invaders culture, especially during this period there was the appearance of Buddhism. At this stage, Vietnam received very little Chinese culture and Confucianism almost did not penetrate into Vietnamese society. Meanwhile, Vietnam mainly receives the Buddhist culture that originally came directly from India.
The spirit of synthesizing the traditional tolerance of the national culture (indigenous culture) in contact with the humanity of Buddhist culture (the period of domination by northern invaders) made the soul of the Ly Tran era, witnessed the formation period and the most prosperous period of Vietnamese folk Buddhism. When we study about the Vietnamese thought history, we see that Buddhism plays an important role.
When talking about the Buddhism role in the Vietnamese thought history, Professor Tran Van Giau affirmed: "The dawn of our national history has been associated with Buddhism. Buddhism is a civilized torch in our country. Buddhism has really penetrated into the blood of Vietnamese national history...".
Professor Tran Bach Dang, when talking about the Buddhism role in the national culture, clearly stated: "It is necessary to pay attention to Buddhism as a culture, there has been its incarnation in the habit, in the activity of human thought, and has been mass in nature. Buddhism has contributed to Vietnamese thought history, that is indisputable...".
Professor Nguyen Tai Thu assessed: "Buddhism is a religious and philosophical phenomenon of the nation, Buddhism is a spiritual demand of Vietnamese people in history, Buddhism plays an important role in Vietnamese people worldview...".
In Buddhism, there are also certain limitations to be eliminated: the struggle elimination attitude that later in the struggle against the exploiting class we have realized these limitations of
Buddhism. But it cannot deny the positive factors that have contributed greatly in the national culture.
The factors in Buddhist ritual activities that can conclude on one of the factors that formed Cheo art are from Buddhist sacrifices.
Buddhism, when organizing the religious activities for believers, encouraged them to actively participate in ritual ceremonies, and at the same time popularized the simplified Buddhist scripture, which were easy to understand, devotional stories, eradication, filial piety ... interesting, such as: Muc Lien save Mau Chan Kinh, Dia Tang Chan Kinh, Quan Am tong tu ban hanh ... These sutras and virtues are written in the verse form or 5 words, or 7 words, or 6 \ 8, and often made by the old women. Only in the "new religion" place, the pagoda sent new monks and nuns to pray and tell story every single day of the full moon, on the first day of month. The narrator needs to have a good voice, sit down, take a knock at the beat, and at the end of a sentence, old women around say at the same time "A Di Da Phat" in unison until the end of the scriptures. Telling story is a humorous way of reading meditation music, in the same form as saying, telling a story of humming, depending on the content of the words that should drop, down ... So, there is a basis for stating the type of game Muc Lien Bao An, Muc Lien Dia Tang, "Huyet Ho Tro" is developed from the rowing leading to death ... The process of conversion of the above processes took place during the fourteenth and fifteenth centuries to the sixteenth century, in parallel with the general momentum of folklore and contemporary royal culture. At the same time, along with the transformation of creativity, it also introduces real-life content, consistent with the desire and taste that many people enjoy then. The history of feudal books always exclaimed angrily, but it was "Sad ceremonies mixed with Fun ceremony", "funerals but singing ", and "forbidden to play music in front of Thai Mieu" ... That proves the rise (or strong penetration) of the everyday life into the type of the Buddha, the religious ceremonies such as in Cheo chai he, Cheo-Tau, Hat dam ... Meanwhile, games presented (face-to-face), job professions are also increasing the situation into complex, attractive types such as games: Do teacher is laying to sell the words, The fortune-teller tells the story ... like the nhieu tam, nhieu oanh Clowns come together in pairs, each "uncle" makes a joke, to make the laughter more cheerful and the more meaningful words, such as pairing Thang Ngo game with whore game to create aroused phenomenon Vietnamese girl courteous ship merchant. This game is so popular that there is the Village meeting taking it as a key game, even men also take China as a group when dancing and playing ... Note that the games belonging to the category of folk beliefs are recounted by an art similar to "siblings" with ancient cheo, about the countless divine relics that localities respect the annual festivals. This type of game accounted for half of the repertoire often performed in the past Cheo, clearly felt both in terms of sound and texture of rowing line going into the stories close to everyday life" [9].
In addition to the form of Buddhist sacrifices, what is more noticeable is the influence of Buddhist thought in previous folk tales and the content of the story and character images of traditional Cheo plays. I would like to present some of the most typical features later.
1-2. Influence of Buddhist morality in the content of ideological and character images in traditional Cheo:
Traditional theater art is a form of national culture. In the cradle of the national Buddhist ideology, Cheo stage formed the first stage with the performances based on the Buddhist rituals mentioned above, in the development of rowing influenced by many ideas. Vietnamese Buddhist ethics.
The causal theory of Buddhism has become the basic principle of the structure of Cheo stories. "One good turn deserves another", "who sows the wind will reap the whirlwind" are the most basic topics in traditional Cheo.
No matter how unjustly austere as Thi Kinh (in Quan Am Thi Kinh), as Ms. Tam (in Tam Cam Cheo), as Xuan Dao (in Xuan Dao cat thit) like Truong Vien's wife (In Cheo Truong Vien), like Cuc Hoa in cheo "Tong Tran - Cuc Hoa" ... people who are good, cultivate themselves and
make virtues, no matter how hard it is, they will be saved by God. As for the wicked like the Cam's mother and Cam in Tam Cam, no matter how cunning the plot is, the end will pay for the sin.
Buddhism refers to causalism, to causation, to the consideration of things which must come from the result of finding the cause and considering this result to be the cause of another result in another relationship. In the opera, Quan Am Thi Kinh, the result of an injustice because of trimming Thi Kinh's beard was so bad that she had to go to the temple to go down to the temple to become a monk, then caught in the eyes of Thi Mau to boil the desire for love to be free. Thi Mau's fire, which is the reason why Thi Kinh was again wrongly accused and had to accept a child who is not her own and then went to ask for milk to raise the child among all the things of the world. And also from all those wrongs, Thi Kinh accepts suffering for herself with compassion, salvation, and salvation. The image of Ong But in Tam Cam story, the core of this story which is universal in the world originates from a Buddhist scripture recorded in the Bach Du sutra, the gentle poor and gentle lady, whenever she is in danger, dangerous. The mummy appeared to teach and save ... From the kindness and sincerity to believe in Cam's words, Tam went down to the river to wash his hair, so that he could take all the shrimp and shrimps, which Tam had managed to find in his basket. In the basket, there is only one goby left. Tam's generosity was predestined to the fate of that goby. The plate brought the fish to raise, and the stepchildren and Cam learned to kill the goby, killing the only consolation. of Tam, but the grace of heaven gave her from grasping the goby bones into beautiful clothes for her to go to the festival and the comedy fell in the river like the spirit of the goby brought her to the prince, to happy ... no matter how cruel the mother and son are, Cam has used all sorts of cruel tricks, the grace will still let Tam through the image of a loom and visions ... in his love and perseverance But the gentle Mother still came back with love and happiness.
Buddhism has been imbued in the hearts of the Vietnamese people for a long time and the image of Ong But incarnated into Vietnamese folklore in the thought of compassion, saving suffering and salvation.
Before the 6th century, BUBHA (Dang Giac Ngo) of the Sancrit language was transliterated as Bo Da or shortened to But, the image of Ong But in folklore appeared as a gentle god, always saving suffering and salvation... to help the gentle destinies to be harmed by evil forces, and also to be a concrete and vivid symbol of Buddhism's cause and effect - goodness is met in the gentle life"[8].
Ong But's image has appeared in many ancient operas. This is a reflection and generalization of Buddhist thought and also the desire of the entire people for the fate of the rowing characters.
That concept is drawn from the phenomenon of development of creatures: plants - flowers -fruits - trees, so the predestined theory of the Buddha, although there are mystical idealism, but that perception contains the A more plausible factor is the destiny perspective of Confucianism.
Buddhism has set forth the ideas of compassion, charity, piety, relief and salvation, which are ideas that have touched the hearts of people and have become one of the sources of compassion, of humanitarianism... Thi Kinh's acceptance into her hands was not only born of suffering but higher than that of the humanity of a compassionate heart before a lost fate of an innocent child, Thi's complaint. Dear forever touched the compassion of viewers in every generation: Who has milk for my baby here ....
While there is content of upkeep, endurance, and no discrimination against friends, the work by the impact of compassionate thought of Thi Kinh shows an interest in people, saving children. People in society are full of injustice and risk, full of selfishness and suffering like feudal society. It is also the dominant ideology, compassionate thought, salvation and suffering of Buddhism.
The main conflict in all stories of Cheo stage is the conflict between good and evil. In Cheo ancient stage, "Xuan Dao cat thit", the image of the daughter-in-law when her husband went to the battle to take care of the old mother and when the old mother was exhausted from hunger, the daughter-in-law shared her meat to support her mother. Also the daughter-in-law in Cheo "Truong Vien" sacrificed his eyes to save his mother in the moment of danger when falling into the hands of
the Spirit ... has really become the moral symbol of the faithful woman. with her husband to worship her parents ... Friendship like Luu Binh, Duong Le in Cheo "Luu Binh-Duong Le", husband and wife love like Tong Tran - Cuc Hoa in Cheo"Tong Tran - Cuc Hoa" ... It can be said that the ancient image of Cheo stage is the image of Buddhism in the world, on the basis of the six-ritual ceremony that Buddha taught people in the morality of human history.
The legend of Cheo is the product of the interpersonal relationship between man and man, so when we talk about folk theater we can understand synonymous with the stage of spirituality because every performance is about the mind of the people and the mind of the theatrical characters is a moral measure, an example for the people, that's why the traditional cheo stage has existed forever since it was just the end of the festival. communal house, until Cheo shows all over the East, South, West, and North... then came to row on box stage, marking a new development for the performing arts from which became theater art.
National art conveys the national morality, the emotional feelings of the nation have really come alive in the spiritual life of every human being, so coming to the traditional stage in the new era, every human being now find themselves in the ideal of returning to the good, the perfection of morality and lifestyle, and then know how to respect and respect the traditions and customs of the nation that our ancestors have left for us forever, to be able to feel the traditional stage like the image of a sparkling jewel amidst the chaos of everyday life.
Returning to the cheo stage in the development process of Vietnamese society through each period, along with the glorious history of the nation, Cheo art has also developed from primitive to modern to always be worthy of nation.
That development has been shaped by the dedication and creative success of every generation of Vietnamese artisans, which started the desire to bring cheo art together with the development of society the role of Cheo artisans, especially Nguyen Dinh Nghi and other Cheo innovators, Tao Bat, Tran Bang and Tran Dinh Ngon ...
2. Chinese cultural integration times. Confucianism and the influence of Confucian ideas in the content and ideology of Tuong art:
Understanding the characteristics of the Tuong theater after the appearance of Chinese tales from the time of Li Yuanji to until later, we clearly see in China the content of performing art works influenced by Confucian thought, Confucianism plays an important role in the spiritual life from the colonial period to the conception of morality, the application of the world ... of the Chinese ethnic Chinese.
For Vietnam, Confucianism came along with the birth of feudalism and thousands of years of our people lived under Chinese feudal rule for a long period of time, so the national culture was influenced. the great influence of Chinese culture and philosophical ideas (Confucius, Lao Tzu) that its consequences have created for the feudal class of Vietnam the fascination with the Northern culture, living under the rule of goods. For thousands of years, the Confucianism was a philosophy of martyrs, the people could not have a thought other than Confucianism, so that the word Confucianism was considered the word of the saints, Confucianism was considered the state religion, and did not know what How different consequences have affected the nation's constitution.
Coming to Vietnam over two thousand years, together with the domination of the invaders, Confucianism had a great impact on the psychology and practices of the Vietnamese people, and the feudal regime was the offspring of Confucian philosophy. to serve the ideology of domination, in addition to the negative effects on the social system and the family, questioning "virtue" over "the rule of law", maintaining the inequalities in the whole society. ... Catholicism also has some positive roles that his father's selection, such as promoting the positive factors of the traditional Vietnamese family, contribute to building people with good qualities having a life of gratitude from within the family to society can thus prevent the moral decline that can occur in a market economy and international exchange. "
Ancient classical art is influenced by Confucian morality, the old classical thought is to promote the "loyalist", "righteousness" "Tam Cuong", "Ngu Thuong" [10]. What is morality in the opinion of Confucius? The main path is 5 relationships: My king Father and son Husband and wife Brother, Friend.
Duc is wise, human, brave - the necessary conditions for the implementation of those five relationships (the army, father, father, woman, and student Wild, intellectual, human, brave, tam gla galaxy has reached the German wild (Trung Dung).
The above five relationships are called Confucius Wukong. Confucius strangely took out the first three relationships considered the most important called Tam Cuong. In Tam Cuong, the meaning of god is more important. Confucius has been inspired by the nature and closeness of man in the relationship between father, son, husband, wife, brother, friends, which is embedded in the relationship between my king. According to Confucius, the feelings between parents and children are inherent emotions belonging to human nature. From that, Confucius deduced: In a family where there is a father standing, there is a king in the country so the religion makes people have to be filial to their parents and loyal to the king. "Loyal to the king, filial to his parents and to the same tree. (Signing Ceremony).
During thousands of years of domination, Chinese culture occupied an important position in the cultural life of Vietnam, Confucius Book was considered as a book of sages, Confucianism became one of the three religions to dominate the life of the mind. Linh in Vietnam, while spreading Han culture and destroying and destroying Vietnam's cultural constructions and social customs, the feudal court really lost its ego but only puppets. in the hands of the colonists, in contrast to the Vietnamese people under the yoke of the Northern feudalism, despite hardship and being disregarded, they still keep the traditions and customs of their people, selective acquisition and Vietnamese. Naming the quintessence of Chinese art and culture to suit the Vietnamese people's psyche and Vietnamese customs and traditions embodied in the art of classical drama is very successful.
Tuong's ideal character at that time was the unconditional hero of the military, sacrificing everything to serve the king for the country, in the play of the play of Son Hau, saying goodbye to Dong mother,
Dong Kim Lan understood that, if his mother came to her hometown but the enemy knew that they would kill them, she was worried and worried about her mother. Homeland is the mother Save that country destiny
As long as the child with water, filial to the young that is the filial piety to parents
Dong Kim Lan, when he saw his mother hung on the wall, complained:
Mom there off slightly set
I'm sitting here sad tears
Easy to forget the national question
Stunned because the clown model gave birth
In the play "The Three Kingdoms Queen Trieu Tu Cung" in the minute of deciding to remove the robes to the battle, she clearly revealed her heart: Exposing the liver to help God frown father
In Confucianism, in order to carry out the above-mentioned five relationships, Confucius requires everyone to attain the three integrity qualities of man, Tri, Nhan and Dung. According to Confucius, knowing those 3 things, knowing how to fix yourself and fix people (Trung Dung).
In the play of Tuong Son Hau, Linh Ta alone resisted the enemy of the army of thousands of horses and was attacked by the enemy. She still sat up and scooped up her blood, splashed it on the enemy's face, and then followed her head with Kim Lan to turn into a torch. Illuminate the road for you to pass the mountain to save God.
Luu Binh Kien in An independent sword movement, talking about his confession:
Secretly worship God wholeheartedly
Casting my faith to keep my faith
Tri tri pillar swollen sky
Transfiguration is horizontal ...
We can consider Confucian morality as a unified thought in the content of Ancient Tuong, as well as Buddhist morality in Ancient Cheo, which we discussed in the previous section.
3. The integration with French culture - French Drama and the role of Nguyen Dinh Nghi in Cheo innovation:
In the late nineteenth and early twentieth centuries, along with the colonization of French colonialism, French culture and civilization in the name of "enlightened civilization" penetrated both in width and depth. our country.
Particularly in the field of theater at the beginning, when French theater penetrated Hanoi, there were very few Western theaters acting for French soldiers in Don Thuy hospital and French barracks, then the opening of the great theater in 1911. to meet the purpose of introducing a modern box-type theater of the West, with a modern layout similar to the theaters of contemporary Western civilized countries, along with the introduction of a series of pieces performed by Mosliere by the group. Vietnamese intellectuals who went to study in France brought back, and then followed the plays that Vietnam was born, which confirmed a new type of theater of modernity and Western civilization was born in Vietnam. with the stage on the outdoor 3-sided outdoor court of Tuong and Cheo. Since then, the type of box stage has attracted the majority of audiences such as mandarins, dignitaries, intellectuals and Vietnamese merchants. Even in the French education sector, open a pedagogy school, France-Vietnam school, which teaches the classical French drama through the authors Corneille, Racine, Moliere, where students not only understand the story but also have to memorize it. accompanied by gestures of illustration. In the years of 1907, 1908, Dong Kinh Nghia Thuc school of patriotic scholars advocated "Tan hoc", in order to train young people into "patriotic patriots" citizens, exhorting fellow "to reform all aspects" bringing the country "to match the five continents". At the end of 1913, some officers in Hanoi called for the establishment of San Nhien Association with the purpose of "Tran hinh hy kich nation to catch up with the world civilization" (Cao Bach published in Dong Thanh newspaper), established in 1914. Cheo singing group, in 1917 San Nhien Dai opened the headquarters as the headquarters of the Association and the theater which has 400 audiences, a Cheo theater built the scale of "imitating" the layout of the interior of the big theater with the stage. authentic boxes and reminders to play ". "... in San Nhien Dai after 7, 8 years of using the box-on stage more and more fluently, combined with some positive reforms in content (formality), formality (acting stability), possibly as the core of the civilized Cheo movement; then from 1922 before the overwhelming power of Western culture, when the plays of De la Merci and Bourrin came to Hanoi to perform ... Cheo group had to perform more "tons" of short comedy interrupts. as immediately follow "Quan Am Thi Kinh" as "Trang Quynh made a joke (comedy); immediately after "Le Trieu princess Tay Son Cong" was "Bom gia mac bay co ke" (comedy). In late 1922, on the stage of San Nhien, there appeared some Western scholars who were inclined to "follow the rules of French classical theater" as Nguyen Ngoc Chau wrote "The gentle bride", "Can Tao Hoa"; Nguyen Van Tam wrote "No Binh Khang", "Doan trai tim", although trying to "integrate into the best cheo songs, did not satisfy the tastes of familiar audiences. It was not until mid-1924
that Nguyen Dinh Nghi "Followed the opinion of the San Nhien quarter and composed a comedy" Mot tran cuoi "with the intention of" Describe body like a gesture "(as the French theater did). giving birth to Cai Luong Cheo. For many years, Cheo Cai Luang was so attracted to the audience that after 3 years, San Nhien Association had to hire more Ca Mau Institute of Performances to perform this type, so that in 1931 and 1932, they would be dispersed to other provinces ". " [9, p. 320] ]...From this movement, a factor of rowing reform artist who has highlighted his role is Nguyen Dinh Nghi.
People's Artist Tran Bang in the report leading the conference Nguyen Dinh Nghi and Cheo development has summarized the following remarks about Nguyen Dinh Nghi's bright career: "Name Nguyen Dinh Nghi, often inside and outside the yard. stage, especially rowing ones of the following generations respectfully mention. Someone said: "The cheo plays composed during this period (Cheo cai luong) brought patriotic content against the French and attacked the bad habits of society". Or: "Contributed to the expression of the political demands of the Confucian class at the beginning of the century". In terms of art, Nguyen Dinh Nghi is an innovator who has succeeded in the idea of 'urbanizing cheo art. Or: Typical construction methods
The basis for Nguyen Dinh Nghi to have an approach to the topic on the image of contemporary people is that the theater principles of Western plays have appeared in Vietnam through a number of plays by Molier. written by a group of intellectuals from France that day in Hanoi, and then plays by Vietnamese authors and writers based on Western plays that we will discuss in more detail in the history of Vietnamese spoken drama art later. Thus, Cheo art starts from the communal house stage to the stage with the exchange and influence of Western theater art. The process of integration, integration and leapfrogging into national characteristics through the industrious and intelligent labor of Vietnamese senior artists marks an extremely important development step of Vietnamese people's art. "Nguyen Dinh Nghi is oriented towards the Western plays to renovate Cheo art, advocating true foot description, namely dividing the play into each act, each scene, realistic decoration, acting in a gesture in real life..." . (Tran Bang - as quoted). Nguyen Dinh Nghi has created rowing art results with full of modern features that are different from the old rowing style in the following points:
- The script is written, the actors must memorize and do not explain and make up
- Structure script in the direction of Western theater art, with anise, scene, leaving the first spear, leaving the stage, dancing, leaving the adoration.
- The characters are mostly contemporary people of all social components, and give up the role of ancient rowing.
The stylized performing method is replaced by the real way of expression, giving up stylized dancing and singing many songs from the northern folk songs such as lullaby, transplanting, military drum, stork, desert, bulge, ferry ..,
Hue folk songs were also recruited into the cheo such as: onions, ancient ba phu luc ..., also for chanting songs such as chau van, rust, spirit, wrong song, congee porridge ... and dances singing Tuong such as: pipe-horse, male, speaking style. It is also used by Nguyen Dinh Nghi in Cheo ".
Later when the country waged a war against the US invasion, Cheo stage appeared many new Cheo works with new themes and new human figures such as the play "Road to the Battle" and the trio Cao Mac's "national song" has been very successful.
The access to Western plays in Cheo is somewhat different from Tuong. Cheo is the original folk performing art of the nation then absorbed the Western Thai theater method to approach the requirement of enjoying art in modern social life from rowing court to paddle, civilized rowing as analyzed above and even modern rowing later as the play "Road to the battlefield", the trio "Song defending the country" by Cao Mam, is a typical expression of the conclusion. To harmonize the basic characteristics of traditional Cheo in expressing the new human image. With classical art from folk performing arts, imported performing arts from China, integrating with the national culture and becoming national arts. In this regard, we would like to make the following remarks.
One of the great contributors in maintaining and developing Tuong art must mention the roles of Dao Duy Tu and Dao Tan.
4. The fourth cultural integration. Socialist culture and the appearance of Soviet-Vietnamese spoken drama:
In the early decades of the twentieth century, the dramatic theater art came from Europe into Vietnam through a number of Molie plays performed by a group of Vietnamese intellectuals who admired and translated from French culture Hanoi stage. However, in this first stage, the art of speaking theater stopped at reproducing the way of ancient French classical theater.
The art of Russian psychological reality actually began to appear and had a great influence in our country after the 1954 Geneva Accords gave Vietnam Theater Drama the most effective method of acting art.
On the basis of the system Theater of K.S. Stanislapxki (Konstantin Sergeevich Stanislapxki (1863 - 1938), actor, director, theater educator, founder and art director of the Moscow Art Theater (MXT), Soviet People's Artist (1936). Activist, thinker and major theater theorist, from the foundation of modern science subjects established a school of theater art - the K.S. Stanislapxki generation. In addition to the successes of realistic performing arts Psychologically, he has made a great contribution to the formation of progressive art and the public art. With the art of psychological reality, he has become the most attached companion of the stage. The first Vietnamese speech, through Trenhiep's "Luba" by Russian director V. Vaxiliep for the Troupe said the Central will debut at the Hanoi Opera House. April 25, 1920 at the Hanoi Opera House paved the way for European Theater to enter Vietnam, after nearly 40 years, the play Liuba was confirmed forever. perspective of that art form in Vietnam. Many Russian scripts have been translated into Vietnamese and staged on the Vietnamese stage, many Vietnamese directors trained in Soviet theater arts schools, later the Russian Federation, contributed significantly to the development of The development of Vietnamese theater arts through their orchestrated plays can be said throughout the development history of spoken art, directors and artists through their theatrical productions. more and more enriching and vivid both in theory and practice of K.S. Stanislavxki psychological reality in Vietnam theater.
The art of psychological reality has become the only way for the training of spoken and film actors in Vietnam. Hanoi University of Theater and Cinema, with a long history of 50 years, has trained many additional generations of actors for theaters, art theater units and film and television film crews. many talented artists face, the transfer of knowledge about performing arts and psychological reality has been maintained since the first days of the University. From the actual needs, based on the experience of many generations of lecturers of the Department of Theater -where the training of Theater and Film actors for the country, specialized textbooks of Drama and Drama actors and Cinema with the title "Curriculum specialized for actors Drama - Film" was born on the basis of the theory of performing arts and psychological reality of the theater theater system. K.S. Stanisnavxki and teaching experience for Drama - Film actors in Vietnam.
Nowadays, the door of cultural exchange is wide open, the interplay between arts has made a significant impact on the development of Vietnamese spoken drama. In the process of acquiring and learning advanced arts, we have not only absorbed and applied the principles in the production of dramatic literature, staged arts, but also effectively absorbed and applied the theory of realistic performing arts.
The history of Vietnamese theater art is the history of the formation of national cultural identity through the integration and integration with the world culture. Experiencing ups and downs of history including the long years under the rule of Chinese feudalism, then the French colonialists. The generations of Vietnamese theater artists always aim to preserve and develop the national cultural identity in the context of selectively acquiring the elite of world theater arts to build a stage background. The nation bears the unique identity of the Vietnamese nation.
Литература:
1. Бредихин А.В. Перспективы развития Шанхайской Организации Сотрудничества// Современная Азия: политика, экономика, общество, 2023. № 1. С. 1-8.
2. Бредихин А.В. Южно-Китайское море - реальность и подход России// Архонт, 2022. № 2 (29). С. 4-11.
3. Китайский гамбит: куда ты идешь, Поднебесная? - М.: АНО ЦЭМИ, Архонт, 2020. -86 с.
4. Разрыв гегемонии: новое исследование строительства международного порядка и системы глобального управления в новую эпоху. - М.: АНО ЦЭМИ, 2023. - 126 с.
5. Lich su tu tuong Viet Nam NXB KHXH, 1993.
6. Tran Bang " Nguyln Binh Nghi va su phat trien Cheo" NXBSK, 1995.
7. Tran Tri Trie " Nguyln Binh Nghi va su phat trien Cheo" NXBSK, 1995.
8. Tran Quoc Vugng " Phat giao va van hoa dan toe". Thu vien Phat hoc, 2008.
9. Tran Viet Ngu " Anh huong ейа san khau Phap voi san khau Viet nam" Vien San khau, 1998.
10. Vu Khieu " Ban ve van hien Viet Nam" NXBKHXH, 1996.
11. Ve nghe thuat Cheo. Tran Viet Ngu. Vien Am nhac viet Nam, 1996.
References:
1. Bredihin A.V.Perspektivy razvitiya SHanhajskoj Organizacii Sotrudnichestva// Sovremennaya Aziya: politika, ekonomika, obshchestvo, 2023. № 1. S. 1-8.
2. BredihinA.V. YUzhno-Kitajskoe more - real'nost' i podhod Rossii// Arhont, 2022. № 2 (29). S. 4-11.
3. Kitajskij gambit: kuda ty idesh', Podnebesnaya? - M.: ANO CEMI, Arhont, 2020. - 86 s.
4. Razryv gegemonii: novoe issledovanie stroitel'stva mezhdunarodnogo poryadka i sistemy global'nogo upravleniya v novuyu epohu. - M.: ANO CEMI, 2023. - 126 s.
5. Lich su tu tuang Viet Nam NXB KHXH, 1993.
6. Tran Bang " Nguyln Binh Nghi va su phat trien Cheo" NXBSK, 1995.
7. Tran Tri Trie " Nguyln Binh Nghi va su phat trien Cheo" NXBSK, 1995.
8. Tran Quoc Vuong " Phat giao va van hoa dan toe". Thu vien Phat hoc, 2008.
9. Tran Viet Ngu " Anh huong ^a san khau Phap voi san khau Viet nam" Vien San khau, 1998.
10. Vu Khieu " Ban ve van hien Viet Nam" NXBKHXH, 1996.
11. Ve nghe thuat Cheo. Tran Viet Ngu. Vien Am nhac viet Nam, 1996.
Для цитирования: Dao Manh Hung. Vietnam traditional stage and the acquisition and influence of foreign stage in development process// Архонт, 2023. № 2(35). С. 119-127.
