收藏百科：红华之油戏——戏剧后台油画创作展在北京正乙祠戏楼举办

现在很多小伙伴对于古玩很有兴趣，收藏爱好者也越来越多，关于红华之油戏——戏剧后台油画创作展在北京正乙祠戏楼举办的问题，西北艺术网小编也在网上查阅了很多资料，不要走开，我们一起来了解红华之油戏——戏剧后台油画创作展在北京正乙祠戏楼举办。

2014年5月17日下午2点红华个人油画展在北京正乙祠戏楼举办。这次展出的作品是画家自2006年以来围绕戏剧后台这一主题所创作的油画。画作凝聚了画家本人对戏剧演员生活的观察和感悟，通过自由奔放的笔触和沉稳浓烈的色彩，以及生动的细部刻画，表达戏剧演员们如戏一般的人生追求，更体现出画家本人对艺术道路的执着和对人生价值的思考。

此次展览持续到5月27日。

开幕式于： 2014年5月17日 下午2:00 -5:00

展览时间： 2014年5月18日至5月27日 上午10:00 至 下午5:00

展出地址： 北京市西城区前门西河沿街220号

(和平门地铁站东南出口，即和平门烤鸭店南侧。)

友情提示：请尽量乘坐地铁，开车的朋友可将车停放在和平门烤鸭店停车场。

咨询电话： 83151650 或63036002 begin_of_the_skype_highlighting end_of_the_skype_highlighting begin_of_the_skype_highlighting end_of_the_skype_highlighting

人生如戏 戏如人生

——走在绘画艺术之路及创作《戏剧后台》的感悟

“人生如戏，戏如人生”，这句话带着些许无奈,但更多让我有某种牵扯和不断轮回的感觉, 因为你说不清人生只是一场戏, 亦或，戏本就是人生?

如果把这句话用在戏剧表演上, 我欣赏的是“人戏不分”、“人生如戏”的交融。戏剧演员是以人生的态度来演绎每一场戏，真实而有韵味。而现实的生活是这样一出戏，它不断上演，不断落幕，前赴后继, 重复着永无休止的轮回。如果让我用一个字来诠释人生， 我想那就是“戏”。原因很简单，戏演绎着人生，而人生就像一场戏。戏唱得好与坏，人生过得是否精彩有意义，要看你是不是彻底地投入角色。

记得念小学的时候, 每逢五一假期, 妈妈都要带着我到几大公园画写生,先是中山公园, 接着到北海公园、景山公园。 每次等我找好位置, 妈妈就坐在我的身后撑起一把花伞, 一来遮挡阳光, 而最重要的是避开看热闹的游客。 不知不觉, 我沉浸在写生当中, 而身后的呼吸声变得越来越平缓……

中学毕业那年顺利考取了北京市工艺美术学校, 随后与绘画结下了不解之缘。

无论开心或者不开心，我和绘画好似互为忠实的伴侣，我享受着那份安静、独自思考、捕捉物体形、色、神的乐趣;而绘画将我的情绪宣泄出来。渐渐的我弄不清，是我被绘画同化了, 还是我习惯了绘画。当看到一幅好作品, 我会凝视很久, 认真研读和推敲, 我的情绪也会随着作品而起起落落。 艺术，无论戏剧还是绘画等诸多形式，原本就源于生活，又是对生活的提炼。我在生活中追寻着梦幻，在绘画里寻找着答案。

在生活的大舞台里, 我们每个人何尝不是演员呢? 我们扮演着最需要扮演的角色，也许生活分派给你的角色不是你最喜欢的, 也许你会奋力争取一个喜欢的角色。但无论如何, 我们的心灵都会告诉自己应该如何去扮演好当下的角色。 生命以其永无休止的轮回向我们证明了：一台戏总是在不断地上演，演员却在不断地更换。每个人的一生只演一台戏，它没有预演也没有重演, 没有放弃, 只能继续, 所以成或败、输或赢也是一时的, 直到生命的尽头才是落幕的一刻。再次开场时，已是物是人非。我们曾经扮演的角色不断有人去重复。我们都希望自己成为一个优秀的演员，扮演自己最喜欢的角色。这便是我们奋斗的目标。“没有最好，只有更好”，于是我们不停地努力, 去追寻一个离我们永远那么遥远的目标。既然生活选择了你站在了这舞台上，那就精彩的吟唱下去吧。

我真的很庆幸能在这个生活的大舞台里找到适合自己的角色。自从走出工艺美校的大门, 我曾经转换过各种角色, 但是只有拿起画笔的时候才能全情投入。不管在时间或空间的何处，唯一不变的就是我对绘画的痴情。走了一圈, 当我踏入中央美院的大门，仿佛自己回到了久违的乐园，这里有我熟悉的油画颜料和松节油的味道，有和我一样的朋友, 他们对绘画艺术充满了憧憬和剪不断的情缘。从那一刻起，我清楚地意识到绘画这件事将贯穿我的人生，就如同一部戏剧由始至终都贯穿着一个主题，让人恨之入骨，又爱之入髓。从那一刻起，我不在乎剧终的结果，甚至是否会有结局，而努力寻求所爱的过程变得尤为重要。我在绘画中寻求自我的价值，又在这条遥无止境的道路上，体会追求中的酸甜苦辣，这个过程何尝不是一个人生圆满的结果?

记得那一年开始准备毕业创作了, 我要画我想画的东西, 画出我的对绘画和人生的体会, 画出我的追求。

我想起儿时的我, 那时候经常和同伴们打扮成仙女的样子在院子里玩耍，红红绿绿披挂一身, 模仿着婀娜的步伐, 说起话来细雨轻柔……那些很具体的美都是从戏剧中获得的。 妈妈带我看的第一出戏剧《霸王别姬》，仍然记得几个片段。没想到几十年后又欣赏到同名的电影巨作。片中的男主角程蝶衣是一名为戏痴狂的戏子,正如他师兄所说的：不疯魔不成活。这一彻底理想化的人物注定因戏而生，因戏而痴，因戏而死。他的传奇一生都浸淫在艺术里, 都奉献给了他心中的霸王。当他唇角含血的说出:“我本是女娇娥，不是男儿郎，……”的时候, 命运的轮回就启动了。他是属于舞台, 活在舞台上的男人。可是不管如何风华绝代，演员还是一个普通人，在台上光彩无限, 落了幕、下了场、卸了妆, 还是社会中的一份子。于是,他便把自己用生命编织起来的梦想寄托在戏剧里, 只有在戏里才能找到自己的存在, 才能找到乱世之中心灵的平衡点。

这部电影自始至终让我有种恍惚的感觉，不断切分的镜头, 昏暗的光线, 压抑的场景, 浓厚的脂粉, 靡丽的戏服, 一切都迷惑着我的眼睛, 触动着我的心灵, 甚至我迷茫得不知道什么时候是戏里什么时候是戏外, 也不清楚到底谁是真正的虞姬谁又是真正的霸王。又或者, 我已然入戏…… 浑然中在戏里我似乎看到了那个自己, 体会到这么多年我的理想一直萦绕心头, 那是一种牵扯, 挣扎和执迷不悔。 电影更坚定了我的这份执着, 甚至觉得追寻的过程是浪漫的。

出于对这部电影的热爱，亦或是对人生有了一些感悟，我越发觉得生活-戏剧- 演员-观众, 他们之间有着不可分离的依存关系。 我情不自禁地想画一系列和戏剧有关的创作，用我的绘画语言, 借景、借人、借物来诠释我对“人生如戏，戏如人生” 这一主题的理解, 表达生活中那一份难能可贵的认真和弃而不舍的精神。于是我下乡山西, 和野戏班子里的演员们交上了朋友, 看着他们如何把木板一根一根地搭成戏台子, 和他们簇拥在化妆间里, 看师傅如何贴片子。 平时活泼好逗的小青年, 一旦化起妆来, 就彻底忘了自己, 忘了年龄, 忘了性别, 忘了季节, 忘了身处何处……他们在戏中演绎着别人的人生，在生活中争当戏中的那个“角儿”。

于是我构思了戏剧创作的第一幅作品。 我将注意力定位在戏剧的后台，选择的环境是一个简朴的化妆间, 为了创造画面扑朔迷离的气氛，故意降低了色调。 画面的远、中、近景分别安排了三组人物, 他们都在做着演出前的准备工作。简陋的屋子里采光很不好, 因此化妆时要借助瓦数不大的灯泡。 我在演员的前方刻意安排了一个光源, 使画面的前景人物清晰可见, 那是一个正在勾脸的女孩，台面上老旧的化妆镜和存放饰品用的抽屉，让你觉得这是一支简单、朴实的草根演出队伍。然而稚嫩的一张脸上流露的却是一丝不苟的表情, 微微内敛的嘴角透着一股倔强和自信。中景是两个穿好行头的演员，一个整装待发，另一个手持水杯， 抓紧休息的片刻喝上一口水。他们身后高大的服装柜子将视线延伸到画面的后方，那是道具师傅正在忙碌的背影。在表现手法上非常老实诚恳，没有刻意。观者会有一种似曾见过的感觉，留待他们去回忆和体会。我认为色彩是绘画语言诸要素中最具有感情特征的，可以比喻成绘画的灵魂。 戏剧在颜色方面给我的印象非常斑斓而又古色古香, 宝石蓝、孔雀绿、胭脂红、印度黄…… 在表现戏剧人物和环境时, 可以大肆运用颜色间的对比。不仅如此, 在表现手法和形式上亦可做无限的探索。

接下来的创作我仍然会把环境定位在戏剧的后台，没有前台华丽的灯光和辉煌的舞台，没有程式化的表演动作。我觉得不是只有大喜大悲、大起大伏的人生才称得上是像“戏”一样的人生。生活就是一点一滴，脚踏实地的朴朴实实。不管是人生如戏，还是戏如人生，令人津津乐道的就是认真执着的精神。最后引用这段唱词作为结束吧：

祖先的玩艺传到今天，

生旦净末丑样样齐全。

花脸的脸谱千姿百态，

武生的打斗最是精彩。

古老的说唱有板有眼，

阴阳顿挫融在其间。

青衣的水袖似仙女下凡，

小丑的功底最是全面。

流多少泪?出多少汗?

有多少辛酸、多少感叹!

日复一日，年复一年，

千万个故事唱在里面。

红华 写于2012年

Life as Drama vs Drama as Life- realisation through painting and the creation of xi ju hou tai- the backstage

“life is like a play”, is a saying that is a little depressing. But it also gives me the vibe of karma, because one is not to differentiate an act of drama from life, or, drama, in itself, is essentially life?

In terms of drama performance, I admire the spirit when one cannot tell the two apart between play and life. It is flavoursome yet realistic when actors perform an act of play as if they live it. Where an actual life, fades in, fades out, as if it is a eternity of repetition. If I was to define life with a word, it would be “drama”. The reason is simple, dramas portray lives, and yet life is like a piece of drama. Whether the play was good, or if life was meaningful, all depends on the fact if one had invested enough effort into the characters.

When I was in primary school, every labour day, mother took me to famous parks for me to draw at. It began at Zhong Shan Park, then at Bei Hai Park, Jing Shan Park. Every time when I found my spot, mother would sit behind me with an umbrella to block off the sunlight as well as gazing tourists. Without knowing, I emerged myself in sketching while all other sounds slowly yet steadily faded out…

After graduating from high school I was offered a place in the art school in Bei Jing, I then began my life with drawing and sketching.

Feeling happy or not, sketching and me seemed to become soul mates. I enjoy the serenity, the time alone, and the joy for me to capture lives in my objects. This helps for me to release my feelings. I was not certain if I was sketching or I was being sketched. When I see a piece of great work, I would gaze at it for a long time, studying. My emotions fluctuate along with it, too. The so called art, may it be in the form of drama plays or drawing and sketching, is a representation of life as it is. On the other hand it is also the epiphany from life. I become a realistic ideologist, in search of my answers through sketching.

On life stages, we are all actors on our own. We play the character that is most needed. Maybe life did not give you your favourite character, maybe you fight for a character you like. No matter what happens, our heads would tell us how to be that character. Life, through its repetitive nature has explained to us, that the same act of play happens over and over, while the actors and actresses keep on changing. To each of our own, we only play one piece of drama. There is no rehearsal, no second take, no giving up. There is only one direction of movement in terms of continuation. Winning or losing is only temporary, the curtain is only drawn at the very end of life, and someone else is going to play our character. We all hope to become an outstanding showman, playing our favourite character, this, is our reason to fight on. We then invest countless effort to chase a far-reaching target. All in all, since life has chosen you to be on the stage, then so shall you to play on.

I am truly grateful to find a suitable character for myself in life. I had tried to be different characters since graduation. But it is only when I sketch I can fully focus. The passion for drawing is the permanent constant in this ever-changing universe. When I set foot in the art school again I was back to my paradise, with familiar colours and the smell of oil paint, with friends who feels like me, with passion and feelings that are difficult to set apart from drawing. In that instance, I realised my life is going to build around drawing and sketching, as a play is built around the theme, love it or hate it. From that moment on, the question is not result-oriented, but process-centred. I am in search of my value in drawing and sketching, feeling feelings along the way. This search in a search is a result on its own.

The year when I started preparing for my graduation project, I wanted to draw things I want to draw, to express my understanding in life through the tip of lead and paint, and to find what I look for.

Going back in time, I remember my friends and me dressed up as fairies in our backyard, different colours, dancing and singing. Those standards of beauty were extracted through various drama performances. I recall several scenes from Farewell My Concubine the play, then related to the Farewell My Concubine the movie hit. The main character was a showman crazy about drama. Such an idealist was destined for drama, born for drama, and died for drama. His legendary life was dedicated to art, to his king. When he said “I was a feminine soul, not a masculine build.”, the repetition of life had begun. He belonged to the stage, the big screen. However, with or without the stardom, an actor is also just a man. Without the fame, the stage, and makeup, he was still one tiny part of the collective public. Therefore, he weaved his dream in his plays, only able to find himself in the eyes of another different name, locating his centre of gravity in his chaotic soul.

Throughout the movie I felt as if I was in a trance. The splitting scenes, dim lights, depressing set up, heavy makeup, fancy drama dresses, all so deluding, to an extent I was not certain as to which is reality and which is not. Not being able to differentiate the sexualities of the characters in the movie. Or in fact, I was way too sucked in by the movie, living the life construed by my ideology in the form of struggle and determination. This movie has then further proved my persistency that the process is romantic to me.

I believe the inseparable relationship between actors and audiences, as the relationship between life and drama stands. I cannot help but to crave to paint out a series of work regarding dramas and plays, to express my understanding of such mutual relation between reality and drama through my language of painting. As a result, I went to Shan Xi, made friends with the local traditional drama actors/actresses. Seeing them nailing wood boards to construct the stage, and to see them all staying in a tiny little room to learn from their maestro. The active young man, once beginning to wear his makeup, forgets about himself. His age, his gender, the season, the location all forgotten but the character he plays.

Thereafter I started my first piece of work. I focused on the backstage. The scene is a simple makeup room. To create the desired ambience, the colour tone was set darker. Three groups of people are located respectively up close, afar and in between, all preparing for their performances. Due to poor lighting in the shabby room, a little light bulb was there as source for light. It was in front of the actors so the front view is easier seen. It was a girl doing her own makeup. It is not difficult to find how local this team of professionals are from the old mirror and the shelves for decorations. However on the young girl’s face one can see confidence and determination. Further away in the painting were two dressed up actors ready to be on stage. The tall closet behind them leads one’s vision further back, to find the busy figures of decoration personnel. Throughout the whole production process nothing was exaggerated and one is left with some level of de ja vu. I believe colour is the element with the most emotions, one may define colours as the soul of paintings. I enjoy the contrast between various colours. It is an infinite search in terms of techniques and form.

As to the coming works, I am still focusing at the backstage, where one finds the lack of fancy lights and glamorous setups, nor any programmed movements. I believe that life does not have to include significant ups and downs to be branded “dramatic”. Life, is one step at a time. May it be drama in life, or life in drama, one is most keen on the determination. To sum up, I shall end with a little poem.

Artistries left to us by our ancestors,

All sorts of characters can be seen.

Artistic facial makeup with thousands of presentation,

Cut-throat fight scenes with heart stopping tempo.

The lyrics are expressed in different tonalities.

Fairies with long sleeves, clowns with all the acrobatics.

Sweat and tears, efforts, exclamation, and reluctance.

Day by day, year by year, thousands of stories,

Through and through, in joy remembrance.

Helen Hung, 2012