Dance Features of Notre Dame Musical

Analysis:

An Overview of the Creative Groups of Notre Dame de Paris

Original: victor hugo victor hugo

Written by Luc Plamondon (Genius! All his things are fine! )

Composer: Richard Cochiante (more genius! Most of the modern classic musicals in France come from his cooperation with the genius above. )

French lyrics: luc plamondon

Directed by Gilles Machek.

Choreographer: martino Mueller

The cast of Notre Dame de Paris

Helene Segara plays E *** Gerard (Helene only performed once, so I'm glad to buy this version).

Daniel lavoie plays frollo.

Bruno Pelletier plays Gringoire (this man is a strong performer, excellent! I like it! )

The werewolf plays quasimodo (Gahu sacrificed a lot for this play and ruined himself ugly enough. )

Patrick Fiori plays Phobos.

Luck Mervil decorated with chlorine pan.

Julie Zenatti plays Lily.

Features:

1, a distinctive musical,

Most of today's famous musicals are packaged by performing arts companies in Broadway and West End of London, new york, so these plays also have the unique style and operation mode of Broadway and West Side. Notre Dame de Paris is an exception. It is one of the few well-known musicals in the world but not influenced by Broadway and the West Side. Notre Dame de Paris was born in Paris, far away from new york and London, and unaffected by Broadway and the West Side. However, after the work was born, the whole process from packaging to production and marketing was completely arranged by French companies, instead of being born in France like Les Miserables and Miss Saigon, it was packaged and operated by West End of London company. Therefore, Notre Dame de Paris hardly bears the imprint of Broadway and West End of London, and people who have seen the play often have different feelings.

The roles of dancing and singing are separated.

Notre Dame de Paris is characterized by the separation of singing and dancing, that is, dancers do not sing and singers do not dance. This is not in line with the way most musicals deal with songs and dances today. In musicals, the roles of dancers and singers are emphasized, but there is basically no absolute distinction. Singers will also dance with dancers, and dancers will also participate in singing (more chorus), thus reflecting the style of singing and dancing. Notre Dame de Paris completely separates the two. All the songs in the play are sung by seven main actors. They don't take part in any dance when they sing, but they are all devoted, just like superstars in the spotlight. Dancers, on the other hand, don't take part in singing. Now,<'s a fool's feast & gt,<'s a miracle court) >,<'s the Valley of Love) > In several big scenes, dancing is almost the whole performance. !

The complete separation of dancing and singing can make them more involved in their own performances and bring their performances to the extreme. There is no need to reduce the difficulty of dancing because of the singer, and there is no need to affect the sound quality because of the dancer. When the singer expresses his feelings with his voice, the dancers on the side wholeheartedly express complex emotional entanglements with their limbs. Take Ais Milada as an example. When she sang, the dancers beside her danced enthusiastically and cheerfully, which could express her unrestrained thoughts better than singing. When Phoebe sings,

In Notre Dame de Paris, the singer expresses emotions with concrete lyrics, the dancer expresses emotions with abstract movements, and the singer and dancer express inner and outer, concrete and abstract at the same stage.

In dance movements, choreography also gives dancers great freedom, and some paragraphs are obviously free to play. At the same time, dancers also use props such as railings and wooden sticks when dancing, which embodies the dual effects of realism and freehand brushwork.

3. Pure popular interpretation,

In singing, "Notre Dame de Paris" completely adopts popular singing, without any bel canto. In terms of playing musical instruments, Notre Dame de Paris also uses all electro-acoustic instruments, without a orchestral instrument. Both show that Notre Dame de Paris pursues a pure popular style. In most other musicals, bel canto is more or less integrated, orchestral instruments are the main accompaniment instruments, or some rock electro-acoustic instruments are added, and pure pop instruments are rarely seen.

4. Unique singing arrangement,

In Notre Dame de Paris, solo is particularly emphasized. Most of the 50 pieces are solos. I appeared after you sang, one after another, and there were few duets. Chorus only appeared in a few places, such as the end, and it was a pre-recorded background chorus. Without the participation of live actors, even if the chorus is heard, it lacks the realism of the chorus. In most musicals, in order to better express the ups and downs of the plot and rich sound levels, solo, duet and chorus are generally arranged reasonably, and there is no excessive emphasis on solo, duet or chorus. Notre Dame de Paris prefers recitals, which makes people feel that the sound level is not rich enough and the form is slightly monotonous.

The main reason for this situation lies in the complete separation of dance roles and singing roles. Because the dance characters don't participate in singing, all the singing paragraphs in the whole play fall on the seven main characters, and these seven people rarely get together in the play, so it is even more difficult to sing. Fortunately, every song in the play is very nice, which makes up for the simplicity of the singing form.

Unique music creation technique,

Notre Dame de Paris has 50 pieces of music. Composers are independent of each song, and rarely pursue the same music material between songs. Except for a few songs that are completely repeated, almost the first capital is a brand-new creation. So it is difficult for you to find the connection between songs in music, and it will feel like a live concert when you enjoy it. If you don't read the lyrics, it's easy to feel that this is a selection of French pop music, not a musical. To be professional, Notre Dame de Paris did not adopt the changing and developing techniques of theme music materials adopted by most musicals.

Notre Dame de Paris is different from most musicals. At present, the vast majority of musicals still use the method of changing theme materials: composers change several theme music materials in different characters and storylines to make them run through the whole play, which makes people feel that some music fragments will linger in their ears from time to time. This technique is very obvious in the musical Les Miserables. In Regret for the Past, truly brand-new music only accounts for one-third of the whole drama music, and the whole drama music is formed by changing and extending this one-third music material. From time to time, I hear familiar music themes, feel cordial, and deepen my impression of characters and stories.

In the creation of musicals, the principle of unity of opposites is extremely important, that is, there must be both the constant changes of music and the unified response of music. If the change is too big, it will give people an unpredictable feeling. If there is too much unification, it will inevitably make people feel bored. Notre Dame de Paris gives people the impression that there is more change than unity. Of course, it is also possible that the composer is very confident in his melody writing and can guarantee that every song is beautiful, but if he is allowed to use the method of changing the theme material, it will affect his freedom to write songs, and his writing is neither free nor beautiful.

5, you don't have to accompany it,

Notre Dame de Paris does not need live accompaniment, which is also rare. In Broadway and West End of London musicals, there are basically bands to accompany them. Notre Dame de Paris plays a pre-recorded soundtrack. This practice has caused great controversy from the beginning, because people think that recording will appear rigid and lifeless, similar to the feeling of lip-synching of stars now. But it turns out that this does not affect the actual effect. The most important reason is that Notre Dame music is played with electro-acoustic instruments. For electro-acoustic instruments, there is not much difference between recording and live performance. Moreover, there is no need to loosen the rhythm of music in the play, and it can be recorded in advance and played at the same rhythm for tens of thousands of times. Of course, the most important thing is to save money. It used to require a lot of people to perform live, but now it can be solved with only one tape. As a long-term performance, this way can save a lot of money.

Another feature is the use of an ear-mounted microphone, which is often used by singers who are singing and dancing wildly. In most musicals, microphones are often hidden in invisible places such as hair and beard, commonly known as hidden microphones, because they can feel more like actors than singers. Notre Dame de Paris really surprised many people. When the singer stands on the stage with a headset and sings loudly, with the dancers' dance and lighting, it makes people feel like a concert of a singing and dancing superstar, with a visual sense of the scene, but relatively speaking, it lacks some sense of drama.

6, high-altitude stunts show charm,

The aerial stunts in the play are also amazing. For example, when quasimodo poured out his love for his beloved clock, three big clocks suddenly fell from the sky. In every clock, there is a stuntman. They played the pendulum, swayed hard, struck the clock and made a thrilling sound. Watching the stuntman hanging in the bell, doing all kinds of movements, accompanied by a huge bell, coupled with quasimodo's warm and almost roaring voice, is definitely a touching scene. There is also the scene of Milada being hanged. Before quasimodo died, he performed four dancers hanging from a tightrope, which left a deep impression on people. It can be said that this is somewhat due to the shock caused by high-altitude stunts. The performers of these movements are not competent by ordinary people. Many of them have changed careers from athletes or acrobats, and some of them are famous for their acrobatic performances. Yamakasi >: Lu Beisong, a famous film director, and his party of seven people once made a film "Enterprise Warrior" based on their superb stunts, which had a great response among European teenagers.

7, abstract landscape:

The scenery of Notre Dame de Paris is simple and powerful. At the beginning of the play, the audience was presented with a large wall made up of dozens of foam puzzles, plus several large columns, which formed Notre Dame de Paris, showing a mysterious and dark atmosphere against the backdrop of lights. Such a design obviously only reveals a small part of Notre Dame de Paris, which makes people unable to understand immediately, but it can give people more imagination. Most musicals, such as "Broadway" and "West End of London", put more emphasis on simulation in props, which makes people understand at a glance that Notre Dame de Paris is much more abstract than them in scenery design.

During the three-hour performance, this tall and powerful wall always stood on the stage. Because the height and width of the stage are completely occupied by the wall, it is not convenient to arrange too many sets and props on the vertical plane. Therefore, in the whole play, a large open space is always reserved in front of the wall, so that singers and dancers have enough stage to perform. This design makes most of the time there are only actors on the stage, and there are no other sets and props, giving people a live concert effect.

8. Different good plays:

A unique play like this naturally attracts more attention from all sides. Like most famous musicals, Notre Dame de Paris has been criticized since its birth. For example, the London Express commented that several ugly concrete columns and a wall representing the beautiful Notre Dame de Paris are really substandard. The Telegraph commented that the music was too noisy, and the actors only paid attention to the sound, not the performance. The Times commented that the arrangement of the songs was chaotic and distinct. Of course, there are far more praise and praise comments than criticism.

Notre Dame de Paris embodies its pursuit of novelty in all aspects, and seems to show the world that it is not a Broadway and West End of London musical, but a musical made entirely by the French themselves.