'The Nghệ Tĩnh folk opera stage has had a proud journey.'

Evaluating and acknowledging the milestones of 50 years of Nghe Tinh folk opera is a correct policy of the Nghe An Provincial Party Committee and meets the spiritual needs of the people of the province. This is a scientific and strategic approach to preserving and promoting the folk culture of Nghe An in general and the "vi" and "giam" folk operas in particular; contributing to building an advanced Vietnamese culture rich in national identity.

PV:Ms. Hong Luu, People's Artist, could you please tell us about the history of the formation and development of Nghe Tinh folk opera?

People's Artist Hong Luu:In the early 1970s, due to the need for new developments in folk performance, the folk melodies of the Ví and Giặm styles tended to be theatricalized to become singing elements in musical dramas. Coupled with the demands of the masses and the influence of other theatrical forms, the Nghệ Tĩnh musical drama art was formed.

Nghe Tinh folk songs have been brought to the stage as a means of expressing the psychological characteristics of characters in dramatic conflicts, with the aim of dramatizing folk songs, creating a modern genre of folk opera that joins the national theater with its rich history. We can affirm that the dramatization of Nghe Tinh folk songs is an expression of correct thinking, in line with the requirements of preserving, protecting, and developing the precious traditional cultural heritage of our homeland and nation. Counting from the establishment of the troupe (now the Provincial Traditional Arts Center) to the present, exactly 50 years, we can divide the experiment of bringing Nghe Tinh folk songs to the stage, experimenting with folk opera and Nghe Tinh opera into three phases: Phase 1 from 1972 to 1985; Phase 2 from 1986 to 1991; and Phase 3 from 1992 to the present.

Accordingly, Phase 1 primarily focused on collecting, researching, and experimenting with several plays. These included "The Girl of the Lam River" by author Nguyen Trung Phong, adapted from traditional Vietnamese opera (cheo); and the highlight of this phase was "Mai Thuc Loan" by author Phan Luong Hao, which won a Gold Medal at the Regional Professional Theatre Festival in Vinh City in 1985. Phase 1 also organized two important scientific conferences in 1976-1984.

In Phase 2, in addition to continuing to experiment with folk and historical themes such as "The Storm at Ky Hoa Gate" by Pham Ngoc Con and "The King Who Turned into a Tiger" by Luu Quang Vu, the artists also boldly experimented with modern themes such as "Two Thousand Days of Injustice" and "The Right to Live Happily" by Luu Quang Vu.

In phase 3 (from 1992 to the present), theater has boldly experimented with many plays on modern themes, with some incorporating folk themes. Among these are several successful experimental works, such as "The Love Story of a Young King" by Phung Dung, which won a Silver Medal at the 1995 National Professional Theater Festival. Another example is the folk-style experiment, "Great Figures Growing Up from Folk Songs" by Vu Hai, which won the Excellence Award at the 1999 National Professional Folk Theater Festival, experimenting with a new style from scriptwriting and staging to music. The play "Round Footprints in the Storm" by Vu Hai in 1996, with its modern theme, was also experimented with in a new style.

In phase 3, from 2003 to the present, the Provincial Traditional Arts Center has continued to experiment with contemporary themes of high combativeness, while simultaneously developing historical musical dramas based on works about famous figures such as President Ho Chi Minh, Phan Boi Chau, Phan Dang Luu, Le Hong Phong... Typical examples include plays such as "The Words of the Nation," "Everlasting Faith," "The Fiery Flowers of Truong Bon," "Dawn," "Teacher and Student," "The Race in the Darkness," "The Crane in the Storm," etc.

PV:The folk opera performances of Nghe An province can be like historical "films" or a vibrant epic, plays that breathe life with pressing and highly realistic themes. Could you elaborate on this statement?

People's Artist Hong Luu:Over 50 years, Nghe Tinh folk opera has experimented with thousands of plays of varying lengths, covering all folk legends, history, and modern themes. These performances have served audiences in many localities within and outside the province, earning widespread public appreciation. Many outstanding plays have been highly acclaimed, winning Gold and Silver medals at national theater festivals, such as "Not Me" (1970), "Mai Thuc Loan" (1985), "The Love Story of a Young King" (1995), "Homeland in the Heart of the People," "The Words of the People, the Words of the Nation" (2005), "Great Figures Growing Up from Folk Songs," "The Crane in the Storm" (2023); ... These plays have left a lasting impression on the public and demonstrate that folk opera has found a solid place in the artistic life of Nghe Tinh.

Many of the musical plays that reenact historical events or portray the leaders and famous figures of Nghe An province are carefully crafted and given attention by the Provincial Traditional Arts Center. Most of these plays praise the great contributions of these predecessors, while simultaneously depicting their noble and enduring image in modern life. Typical examples include "Mai Thuc Loan," "Great Figures Raised from Folk Songs," "The Words of the People, the Words of the Nation," and "Everlasting Faith"...

In addition, there are themes of historical fiction, folk legends, revolution, and modernity, with genres such as drama, tragedy, and comedy... leaving indelible impressions on the audience. If one of the most important tasks of art is to discover and help the public recognize the true values ​​amidst the myriad phenomena; the intertwined mix of good and bad, right and wrong, reality and illusion... then plays on modern themes have followed that direction. Over 50% of works over the past 50 years have been on modern themes. This is because, from its very origins, the stage has always been a forum for pressing social issues. It is the red thread running through the direction and guidance of public opinion, and at the same time, it is a factor that attracts viewers to the stage, especially at times when life is in a transitional phase full of contradictions like today.

Modern plays truly reflect life, addressing many different aspects of life that society cares about. Especially from the late 1980s to the present, a series of plays on modern themes have been created to serve the country's reform efforts, such as "Two Thousand Days of Injustice" (1988), "The Right to Happiness" (1990), "Tears of the Youngest Child" (1991), "A Mother's Heartache" (1992), "Great Figures Growing Up from Folk Songs" (1999), "Overcoming Fate" (2000), "The Words of the People, the Words of the Nation" (2005), "The Crane in the Storm" (2023)... These plays have truly made a significant impact. Many plays have lasted for decades and are still warmly received by a wide range of people, such as "The Tears of the Youngest Child," "The Price Life Must Pay," "Teacher and Student," and "The Race in the Darkness"...

PV:Performing arts in recent years have essentially become a form of seeking out audiences, rather than audiences seeking out the stage, so diverse forms of activity are necessary. What are your thoughts on this issue, and what are your insights on theatrical performances in recent years?

People's Artist Hong Luu:In recent years, the Provincial Traditional Arts Center has focused its experimental efforts on modern themes, depicting contemporary human life in various fields. With its heartfelt lyricism and creative application of new songs in its performances, the folk opera genres have the ability to adapt to and address the issues of contemporary life, particularly expressing the emotions and inner lives of modern people, stirring public opinion, awakening conscience, purifying the soul, and offering suggestions to the public on certain social issues. Notable examples include plays such as "The Price Life Must Pay," "Where Does Hatred Come From," "The Case of the Buddha's Temple," "Teacher and Student," and "The Race in the Darkness," which have sounded the alarm about the danger of moral decay, where money, fame, and status are eroding people's spiritual values.

This awareness of the warning has been quite evident in recent modern themes. This is why modern themes make folk opera (ví and giặm) so appealing. Every art form has its appeal; without it, it becomes less relatable to the audience and to life. The appeal of modern themes lies in the combination of tradition and modernity. Alongside tradition, the creation of new songs and melodies contributes to the success of the performance, giving the work lasting vitality. Previously, during the centrally planned economy era, artistic creation prioritized education as the primary political task. Now, to develop and survive in a market economy, the entertainment value of art must be emphasized. Of course, this focus on entertainment should not come at the expense of the humanistic significance of the work.

With diverse scales of operation and expanded performance areas, theatrical art becomes more closely connected to social life and closer to the public, creating a sense of empathy between the public and the theater. Therefore, when creating plays, the artistic audience cannot be overlooked. There are many artistic audiences, but in Nghe An, the artistic audience is mainly the general public.

Therefore, determining the target audience of each work to suit different types of audiences is essential to meet the needs of a broad audience. Creating performances that are both of high artistic value and accessible to the general public is a matter of great importance.

In recent years, we have actively created many excellent plays that resonate with people from all walks of life, especially targeting a wide range of social groups. At the same time, we always focus on engaging with the audience, both directly and indirectly. Many plays have been performed dozens of times on major stages and are still requested by audiences for repeat performances.

In addition, we have also refreshed the themes and performance styles to meet the public's tastes. And it's encouraging that the folk opera stage in Nghe An is attracting more and more captivated audiences.

PV:Thank you for this conversation!