The vibrant spirit of the revolutionary stage in Nghe An

Highlights of the plays about famous people

Ví and Giặm – two representative melodies of Nghe Tinh folk music – possess a flexible lyrical, narrative, and call-and-response quality. They can express both personal feelings and the spirit of the community. It is this "open structure" of folk music that has allowed generations of artisans, musicians, and researchers to gradually experiment with bringing this material to the stage.

In the early 1970s, during the mass arts movement, short plays such asBefore setting off,Ask who is important...was born, initially "experimenting" with the theatrical adaptation of folk songs. In 1973, the Nghe An Folk Song Troupe was established, opening a new era for experimentation. A significant turning point was the emergence of adapted melodies.Anger mixed with affection(Nguyen Trung Phong), both close to folk traditions and rich in emotional impact, demonstrates the boundless creative potential of the folk songs and chants when they enter the stage.

From here, many major theatrical productions were created, serving both political objectives and enriching the people's spiritual lives. These include:The girl from Song Lam(praising the Nghe Tinh Soviet movement)Earth flowers,Hong Mountain Fire…In which, the notebookMai Thuc Loan(Phan Luong Hao) marked the peak of the early stage when he won the Gold Medal at the National Professional Theatre Festival in 1985. This is proof of the ability to combine historical themes and folk art, opening up a sustainable development direction for Nghe Tinh folk opera. In particular, according to People's Artist Hong Luu, the policy of theatricalizing folk songs not only preserved traditional values ​​but also created a new "drama genre" - Nghe Tinh folk opera that is both revolutionary and rich in local cultural identity.

While the early stages focused on historical themes, revolutionary movements, and real-life situations, from the 1990s to the present, the Nghe Tinh folk opera stage has increasingly asserted its position with a series of works praising the nation's cultural and political figures. Notable examples include...Famous people grew up surrounded by folk songs and melodies.(Vu Hai) - a work that portrays the image of a leader through the "nurturing" of folk culture, won the Excellence Award at the National Folk Theatre Festival in 1999. This is clear evidence of how Nghe Tinh folk theatre connects folk culture with the portraits of famous figures.

In addition, many major productions about historical and cultural figures have been elaborately staged, such as:Phan Boi Chau- Recreating the image of a patriotic intellectual and great thinker of the 20th century;Grand Tutor and Duke of Cương Quốc, Nguyễn Xí- A renowned general from Nghe An province during the early Le Dynasty;Tears of To Nhu- Paying tribute to Nguyen Du, the great national poet;The words of the people, the words of the nation.,Faith shines brightly forever.to praise President Ho Chi Minh;Truong Bon Fireworks,Dawn- Depicting heroes, martyrs, and revolutionary events. Each performance is an "epic chapter on stage," recreating the courage, intellect, and character of those who brought glory to the nation.

Beyond mere praise, these works also convey humanistic messages: patriotism, the aspiration for independence, and social responsibility. In particular, many plays have a political and social focus, such asThe executioner,The race track in the dark,Waves rise in the countryside…shows that the revolutionary stage in Nghe An always keeps pace with current events, fights against negativity, and strives towards the values ​​of Truth, Goodness, and Beauty.

Connecting tradition and modernity

Over the past half-century, the revolutionary theater of Nghe An has undergone many changes, but has still maintained its strong vitality. Generations of artists, from Nguyen Trung Phong, Phan Luong Hao, Vu Hai, Luu Quang Vu to People's Artist Hong Luu… have successively created, taking Nghe Tinh opera beyond the local boundaries to affirm its position on the map of Vietnamese theater.

It can be said that plays about cultural figures are the most beautiful embodiment of Nghe An's revolutionary theater: They are both deeply rooted in folk music, spreading historical values, and opening up a space for modern art. These works are not only for viewing and remembering, but also for reflecting on our responsibility today in preserving our identity and building a progressive Vietnamese culture rich in national character.

Eleven years after UNESCO recognized the Ví and Giặm folk songs of Nghe Tinh as a representative intangible cultural heritage of humanity (2014-2025), the Ví and Giặm folk song theater has made significant progress, both preserving traditional values ​​and boldly innovating to keep pace with the times.

In Nghe An, more than 130 folk song clubs, with nearly 2,000 artisans regularly active, have become the core force preserving the "soul of Nghe An." Simultaneously, professional art units have been gradually strengthened: from the Nghe An Folk Song Drama Troupe, it has now developed into the Nghe An Provincial Traditional Arts Center – a place that directly experiments with and stages many folk song dramas. "Notably, in 2023, the Scientific Conference 'Nghe Tinh Folk Song Drama - Trends in Integration and Development' brought together more than 40 papers that affirmed the position of folk song drama in the 'family' of traditional Vietnamese theater, alongside Cheo, Tuong, and Cai Luong...", said People's Artist Hong Luu.

Despite its many achievements, the folk singing and chanting stage still faces numerous challenges. The acting workforce is increasingly scarce and aging, while there are no professional training institutions at the college level or higher. New scripts are scarce, young audiences show little interest, and there is significant competition from modern forms of entertainment on digital platforms.

In this context, staging the Ví and Giặm folk songs is not only about preservation, but also an essential path to connecting the heritage with contemporary life. The application of technology, promotion on digital platforms, and innovation in staging and experimentation with modern music, lighting, and visuals will help Ví and Giặm folk songs become more accessible to today's audience.

Artists, artisans, and cultural managers all share the same opinion: To keep the Ví and Giặm folk songs alive, two approaches are needed simultaneously – training and rejuvenating the next generation of artists, and creating new works that reflect the pulse of life. This is also the way to ensure that Ví and Giặm folk songs are not only a cherished heritage of the past, but also an art form that accompanies the present and looks towards the future.