Väärennetty morsian

Pieni näyttämö
Ensi-ilta 26.1.2006
2 h 30 min
24 euros

Huom! Poistunut ohjelmistosta!

Control: Kong Xinyuan

Assistant Director & Producer in China: Tan Longijan

Production: Yu Gang

Costumes: Zhang Yi

Music: Xu Yuan

Lighting design:
Risto Heikkerö

Sound design:
Mauri Siirala

Cast: Eeva-Liisa Haimelin, Kaisa Torkkel, Pekka Huotari, Risto Kaskilahti, Tuukka Leppänen, Seppo Maijala, Sanna Majuri, Vappu Nalbantoglu, Jyrki Nousiainen, Hermanni Rask, Hannes Suominen, Eija Vilpas

Dancers: Harri Kuorelahti, Kai Lähdesmäki, Unto Nuora, Valtteri Raekallio/Mikko Lampinen

Galleria

Kaksi esiintyjää, jotka ovat pukeutuneet hienostuneisiin, värikkäisiin perinteisiin kiinalaisiin oopperapukuihin, poseeraavat dramaattisesti lavalla, ja toisella on kädessään punainen tupsu. Heidän takanaan näkyy maalattu tausta, jossa on kukkia ja kalligrafiaa.

Kaksi perinteiseen kiinalaiseen oopperapukuun pukeutunutta esiintyjää, joista toinen istuu etualalla punaisessa puvussa ja päähineessä ja toinen siniseen ja mustaan pukeutuneena seisoo takana, ja taustalla on koristeltu punainen tausta, jossa on kiinalaisia huonekaluja ja taittuvia näyttöjä.

Lavalla on kaksi esiintyjää, joilla on perinteisen kiinalaisen oopperan taidokkaat puvut ja meikki; toinen säätää toisen koristeellista päähinettä ja punaista kaapua, ja taustalla on punaisia koriste-esineitä ja taideteoksia.

Lavalla esiintyy kaksi esiintyjää värikkäissä, taidokkaissa kiinalaisissa oopperapuvuissa. Toinen istuu punaisessa puvussa, jossa on koristeellinen päähine ja huntu, ja näyttää ahdistuneelta, kun taas toinen seisoo mustassa ja sinisessä puvussa ja osoittaa heitä dramaattisesti.

Kaksi esiintyjää koristeellisissa perinteisissä kiinalaisissa oopperapuvuissa ja -meikeissä pitävät toisiaan kädestä näyttämöllä ja ilmaisevat voimakkaita tunteita. Kohtaus on värikkäiden vaatteiden, taidokkaiden päähineiden ja maalatun taustan värittämä.

Näyttelijät esiintyvät näyttämöllä perinteisissä kiinalaisissa oopperapuvuissa ja -meikeissä, ja näyttämön yllä on runsaasti koristeltu tausta ja kaksi suurta maalattua lohikäärmettä. Etualalla on kolme päähenkilöä, jotka ilmaisevat voimakkaita tunteita.

Ryhmä näyttelijöitä värikkäissä, koristeellisissa perinteisissä kiinalaisissa oopperapuvuissa esiintyy lavalla; yksi näyttelijä polvistuu dramaattisesti keskellä, kun muut katsovat sitä ilmeikkäin kasvoin.

Värikkääseen, perinteiseen kiinalaiseen oopperapukuun pukeutunut esiintyjä polvistuu lavalla yllättynyt ilme kasvoillaan, ja hänen ympärillään on kolme muuta hienosti pukeutunutta näyttelijää, jotka kaikki reagoivat dramaattisesti. Koristeellinen laatikko makaa avoimena lattialla.

Ryhmä värikkäisiin perinteisiin kiinalaisiin oopperapukuihin pukeutuneita esiintyjiä kerääntyy lavalle mustaan ja kultaan pukeutuneen keskushahmon ympärille, joka poseeraa dramaattisesti näyttämön valaistuksen alla. Koristeelliset päähineet ja kirjaillut kaavut ovat näkyvissä.

Värikkääseen perinteiseen kiinalaiseen oopperapukuun ja maskeeraukseen pukeutunut esiintyjä elehtii yhdellä kädellä ja pitelee piippua, kun kaksi muuta näyttelijää on vuorovaikutuksessa näyttämön koristeellisella taustalla.

Lavalla esiintyy näyttelijöitä perinteisissä kiinalaisissa oopperapuvuissa, joista yksi siniseen kaapuun ja hattuun pukeutunut näyttelijä näyttää yllättyneeltä tai vihaiselta ja toinen vaaleanpunaiseen pukuun pukeutunut näyttelijä näyttää huutavan hänelle. Taustalla on koristeellisia valkokankaita.

Lavalla esiintyy neljä näyttelijää värikkäissä, koristeellisissa perinteisen kiinalaisen oopperan puvuissa. Yksi näyttelijä nostaa dramaattisesti punaista liinaa, ja muut reagoivat siihen yllättyneinä ja ilmeikkäinä. Koristeelliset näytöt ja maalatut kulissit koristavat näyttämöä.

Kolme perinteiseen kiinalaiseen oopperaan pukeutunutta ja meikattua esiintyjää poseeraa dramaattisesti. Kaksi nojaa punaiseen pöytään, ja kolmas seisoo heidän takanaan ja tekee eleitä. Taustalla on kukkamaalaus.

Kaksi perinteiseen kiinalaiseen oopperapukuun ja meikkiin pukeutunutta esiintyjää hymyilee ja poseeraa yhdessä sisätiloissa. Toisella on sininen kaapu ja hattu, ja hänellä on kädessään viuhka, kun taas toisella on vaaleansininen ja musta kaapu, ja hän istuu kultaisen arkun päällä. Heidän takanaan on kukkatausta.

Kaksi esiintyjää poseeraa värikkäissä perinteisissä kiinalaisissa oopperapuvuissa ja taidokkaassa meikissä. Toisella on kädessään pitkä piippu ja yllään mustansininen kaapu, kun taas toisella on kädessään viuhka ja päässään punasininen kirjailtu päähine.

Keskellä näyttämöä laulaa perinteiseen kiinalaiseen oopperapukuun pukeutunut esiintyjä, ja hänen takanaan koristellussa lavastuksessa poseeraa dynaamisesti neljä mustiin ja punaisiin pukuihin ja valkoisiin saappaisiin pukeutunutta tanssijaa.

Neljä perinteiseen kiinalaiseen oopperaan pukeutunutta ja maskeerattua esiintyjää on lavalla, ja he näyttelevät ilmeikkäästi punaisen taustan edessä, jossa on koristeellisia ruutuja ja koristeita. Yhden esiintyjän kasvot on peitetty punaisella liinalla.

Arviot

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Arvio

HILARIOUS CHINESE MARRIAGE TRADEThe Helsinki City Theatre’s other major novelty in early spring is Sami Keski-Vähälä’s play The Fake Bride, based on an old Chinese folk tale. Whereas in China the story is usually presented as musical theatre, we have a comedic spoken theatre version. The pilot of The Fake Bride is the experienced director-actor Kong Xinyuan, who is visiting Finland for the third time. Assistant director-producer Tan Longjian , on the other hand, graduated from the Sibelius Academy in 1994 as the first foreign student to graduate with a master’s degree in folk music. The performance, which was completed on the initiative of theatre director Asko Sarkola and after years of effort, is an excellent example of the successful interaction of two different cultures.The look of the performance is mainly Chinese, as the set designer and costume designers also come from China. The gorgeous costumes and wigs are also made in China. Chinese instructions are also behind the implementation of make-ups, among other things.Doctor Ping, Widow Sun and Shopkeeper Pei all want to have their children in the so-called “Stallion”. good marriages. However, cross-loves and various misunderstandings mess up the parents’ plans and a delicious and viewer-friendly comedy is built on funny characters and appropriately baked in anachronisms.The performance is all about Zhang, played by Risto Kaskilahti . A man in a woman’s clothes is such a common sight in Finland these days that an actor has to be unusually good for the thing to work.

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FINNISH-CHINESE PERFORMANCE SWEETLY TEASES THE NERVES OF LAUGHTER

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JOYFUL TRADITIONAL THEATRE Chinese and Finnish theatrical expression meet in the City Theatre’s new play, which explores difficult marriages. When Chinese theatre tells the story of young people who fall in love against their parents’ marriage plans, we are far from the love games of A Midsummer Night’s Dream . Based on an old Chinese story and a play based on it, The Fake Bride is a story in which the main role is not played by couples in love, but by parents who plot to get their heads around and a married woman who can go everywhere. The Fake Bride is a comedy of manners, which at the time of its creation also contained sharp social criticism of the greed of parents. It tells the story of shopkeeper Pei (Pekka Huotari) and doctor Ping (Seppo Maijala), who both have their own reasons for getting their son married quickly. In practice, this means that the time has come to enforce the marriage contracts made long ago for the children.However, there are many twists and turns in the matter, and the families hire the wife Zhang (Risto Kaskilahti in a brilliant female role) to circumvent them. Doctor Ping does not want to marry his daughter to Pei’s son yet, because he thinks he is too young and because he must first marry his own son. Widow Sun (Eija Vilpas), on the other hand, does not want to give her daughter to Ping’s son, because she suspects that there is something shady behind the rush of fire. Trying to find a solution to all these problems is the resourceful but gullible Zhang, whose wit is boosted by the generous reward that comes from the wedding.GLOW OF COLOURThe Fake Bride is directed by Chinese director Kong Xinyuan, who has had a long career in Chinese Peking opera. According to the traditions of Chinese art, the events of the play are told metaphorically, i.e. The expression is deliberately exaggerated and stylized, not realistic. The end result is a hilarious combination of one’s own and the stranger. For example, the use of voice with its polite cursing and scolding appeals in an atavistic way across national borders. In Finland, children would also be a suitable target audience for the play, for whom this kind of humour is just right. The gorgeous costumes are made in China, and their splendor of color and sparkle are a feast for the eyes. The staging is vividly reminiscent of Chinese paintings in its still life.Finnish actors have bravely accepted the challenge of diving into the forms of expression of a completely different cultural circle. Some performances definitely rise above others. Eija Vilpas, the widow Sunina, is unsurpassed in her expressiveness. Risto Kaskilahti’s charming rogue character Zhang is the heart and primus motor of the play, winning the audience’s sympathies. Reetta Honkakoski and Tuukka Leppänen also succeed excellently as lovers who change roles. Fake Brides is an entertaining feel-good play that surprises with its simple freshness. It is a case that is definitely worth seeing.

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COLORFUL MARRIAGE GAME But the result is at least very interesting – this time it’s about the visually colorful performance Fake Bride. For the first time, a Chinese director, Kong Xinyuan, has collaborated with Finnish actors on a spoken theatre stage. And the result is brilliant. The stage sparkles with the joy of playing, humour, comedy, relaxed atmosphere, exciting physical movements and creative throat sounds, as well as slightly ironic parody elements. Sami Keski-Vähälä has written the play The Counterfeit Bride , which is based on an old Chinese folk tale, a comic tale from the Ming Dynasty known in China. It tells about the complications that arise when the parents decide on suitable bride and groom candidates. Director Kong Xinyuan, who has previously made a guest appearance in Finland, has together with set designer Yu Gang and costume designer Zhang Yi created a small masterpiece. The Finnish actors have even managed to get into the Chinese acting tradition to some extent, but have nevertheless been directed with appropriately distancing ironic-parodic dimensions. In any case, much of the skilfully choreographed movement scheme and the shrill voices contain elements from Chinese theatre.When you also add the soundscape, which is mostly based on the traditional Peking opera, the whole becomes very diversely interesting. This includes a lot of physical theatre that gives the whole performance an extra expressive dimension. Risto Kaskilahti makes a skillful, fully played-out, primordial comic interpretation of Zhang, the matchmaker who contributes to the intrigue between the different families and their respective bride and groom candidates. In and of itself, the story itself becomes a typical comedy of entanglement, but the exciting execution and the Chinese cultural tradition conveyed here create a fascinating whole. All the actors manage to carry out their “Chinese” roles in an integrated way, as do the four dancers who develop interesting movements in the stretcher and other scenes. Jyrki Nousiainen is the clownish judge who at the end gets to sort out the mess with the counterfeit bride, Tuukka Leppänen, who meets the fake groom, Reetta Honkakoski.

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The farce doesn’t get any better than thisSO CHINESE, SO CHINESE

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AN EVEN MORE AUTHENTIC COMEDY The Helsinki City Theatre’s Chinese novelty, The Fake Bride, is the fulfilment of Asko Sarkola’s long-standing dreams and an absolute cultural act. In addition to being a funny comedy, the performance can be followed as an experiential lesson in theatre comedy, as in addition to Chinese exoticism, the performance also glows with the best comic traditions of the Western theatre tradition from different centuries. Director Kong Xinyuan has built Sami Keski-Vähälä’s dramatized The Fake Bride into a Finnish spoken drama into an exhilaratingly confident package, in which jokes are also made at the expense of Chinese theatre. For example, the complex and well-defined etiquette that dominates the interaction of the characters and the exaggerated use of voice by the actors provide endless ingredients for a director who clearly has a very wide theatrical register and an excellent sense of comedy. In the direction of characters, the Chinese tradition functions mainly as a method that guides the direction of expression, not as an object of serious imitation. Visualisation, on the other hand, is a purely Chinese thing: minimalist sets, glamorous costumes and powerful role-type make-up are literally teeming with symbolism that tickles the imagination while offering the actors additional expressive dimensions. The centuries-old story of the marital mess of three families is surprisingly familiar and clear in its basic form. However, the linear story is told in a much more multi-voiced way than we are used to: in between the speech scenes, there is also material that comments on them and deliciously inflates their themes. The whole is held in the hands of a narrator whose omniscient character cannot help but catch a glimpse of the harlequin of the commedia dell?arte or the benevolent jester of Shakespearean comedy. This time, however, the rogue character is a woman – a cunning and cunning marry woman who is not content to just tell about the events, but acts as the initiator and confusing of them, and in the end as one of the main characters. The comic dimension is deepened by the fact that the charming plotter is played by male actor Risto Kaskilahti, who does the most lavish role of the evening. At the end of the story, a deus ex machina to the power of a hundred awaits the viewers. The romantically sweet finale is followed by a fantastic, almost clownish final act, where judge Qiao, known in Chinese folklore as righteous, takes the stage. Jyrki Nousiainen’s unexpected, astonishing and boldly exaggerated solo truly crowns both the performance and the story. Diving into a foreign culture has required the actors to have a brisk attitude and a self-indulgent desire to learn new things. Director Kong Xinyuan has made the dip an obviously enjoyable experience, as you can read childish enthusiasm on the faces of the actors, and that is unbelievably rare in these expanses. And disappearing, as theatre always does. At least Risto Kaskilahti’s sense of rhythm, Jyrki Nousiainen’s shameless daring, the expressiveness of Reetta Honkakoski and Sanna Majuri, Tuukka Leppänen’s flirtatious flirting and Pekka Huotari’s carefully choreographed rage should now be canned for future needs.

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HILARIOUS THOSE FINNISH CHINESE I guess this is also a kind of China phenomenon: a play has been created on the small stage of the Helsinki City Theatre in which “District Judge Qiao solves the case of meddled mandarin ducks”. I still don’t understand what the mandarin ducks have to do with the play The Fake Bride, but it’s a pretty hilarious thing anyway. The script of the play is written by Sami Keski-Vähälä based on Chinese folklore, directed by Chinese Kong Xinyuan. The production is thus a mixture of Finland and China: the visual identity is built in the Far East, but the stage speech is sprinkled with a lot of traditional Finnish bush comedy. Compared to the Finnish contemporary drama The Fake Bride is like from another planet. The programme mentions that Chinese theatre is based on the idea that “if it is real, it is not art” – I guess the exact opposite could be said about Finnish theatre. The story is an honest soap opera and reminds me of some of Shakespeare’s comedies, at least in the sense that this story is also full of cunning scam attempts and men in women’s clothes. Of course, love is central: young people’s crushes do not want to coincide with the marriage contracts made by their parents. We need the services of a marrying Zhang, and eventually a little bit of a judge as well.

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IT’S NOT OKAY TO FALL IN LOVE WITHOUT A SPOUSEThe Chinese-Finnish collaboration returns to the origins of theatre art.According to the director of the Helsinki City Theatre, Asko In Sarkola’s words, eight dream lived for years when the Fake Bride got premiere. The original idea of the Chinese about getting a comic story into a Finnish theatre on stage by combining Chinese and Finnish theatrical tradition has ultimately produced an excellent comic pill of joy, which After the initial confusion, it sucks irresistibly into you.

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