The strong vitality of Nghe An revolutionary theater

Highlights of famous plays

Ví and Giặm Songs – two typical melodies of Nghệ Tĩnh Folk Songs – possess the ability to be lyrical, narrative, and respond flexibly. They can both express personal feelings and carry a strong communal spirit. The “open structure” of folk songs has created conditions for generations of artisans, musicians, and researchers to gradually experiment with bringing this material to the stage.

In the early 1970s, in the mass arts movement, short plays such asBefore departure,Ask who matters… was born, initially “trying” to stage folk songs. In 1973, the Nghe An Folk Song Group was established, opening a new period for the experimental process. An important turning point was the birth of the adapted melodyAngry but loving(Nguyen Trung Phong), both close to folk and rich in inspiration, proves the endless creativity of Vi and Giam when entering the stage.

From here, many great plays were born, both serving political tasks and improving people's spiritual life. Some examples include:Lam River Girl(praising the Nghe Tinh Soviet movement),Ground flower,Hong Mountain Fire Spot… In which, the playMai Thuc Loan(Phan Luong Hao) marked the peak of the early period when he won the Gold Medal at the National Professional Theatre Festival in 1985. This is a testament to the ability to combine historical themes and folk art, opening a sustainable development direction for Nghe Tinh drama. In particular, according to People's Artist Hong Luu, the policy of theatricalizing folk songs not only preserves traditional values ​​but also creates a new "genre" - Nghe Tinh folk drama that is both revolutionary and rich in local cultural identity.

If the first stage focused on historical themes, revolutionary movements and real life, then from the 1990s to the present, Nghe Tinh Folk Song Theatre has increasingly affirmed its position with a series of works praising the nation's cultural and political celebrities. Typical examples include:Famous people grew up from folk songs and folk songs.(Vu Hai) - a work depicting the image of a leader through the "nurture" of folk culture, won the Excellence Award at the National Folk Song Theatre Festival in 1999. This is a clear demonstration of the way Nghe Tinh drama combines folk culture with portraits of famous people.

Besides, many great works about historical and cultural figures are elaborately staged such as:Phan Boi Chau- recreating the patriotic scholar and great thinker of the 20th century;Grand Tutor and Duke of Cuong Quoc Nguyen Xi- famous general of Nghe An during the early Le dynasty;Tears of To Nhu- gratitude to Nguyen Du, the great national poet;His words are the words of the country,Forever Faith -praise President Ho Chi Minh;Truong Bon Fireworks,Dawn- depicting heroes, martyrs and revolutionary events. Each play is an “epic chapter on stage”, recreating the spirit, intelligence and personality of people who made the nation famous.

Not only stopping at praising, the works also convey humanistic messages: patriotism, desire for independence, social responsibility. In particular, many plays have political content such asThe executioner,Race in the Dark,Waves rise up in a countryside…shows that Nghe An revolutionary theater always accompanies current issues, fights against negativity, and strives for the values ​​of Truth - Goodness - Beauty.

Connecting tradition and modernity

Over the past half century, Nghe An revolutionary theater has undergone many changes, but still maintained a strong vitality. Generations of artists, from Nguyen Trung Phong, Phan Luong Hao, Vu Hai, Luu Quang Vu to People's Artist Hong Luu... have succeeded each other in creating, bringing Nghe Tinh theater beyond the local scope to affirm its position on the map of Vietnamese theater.

It can be said that the plays about cultural celebrities are the most beautiful crystallization of Nghe An revolutionary theater: both attached to the folk song roots, spreading historical values, and opening up a modern art space. These works are not only to watch, to remember, but also to reflect on today's responsibility in preserving identity and building an advanced Vietnamese culture, imbued with national identity.

Eleven years after UNESCO recognized Nghe Tinh Vi and Giam folk songs as an Intangible Cultural Heritage of Humanity (2014 - 2025), the Vi and Giam folk song theater has made significant progress, both preserving traditional values ​​and boldly innovating to keep up with the breath of the times.

In Nghe An, more than 130 folk song clubs, with nearly 2,000 artisans regularly operating, have become the core force to preserve the "soul of Nghe An". At the same time, professional art units have also been gradually improved: from the Nghe An Folk Song Drama Troupe, now developed into the Nghe An Provincial Traditional Arts Center - where many folk song plays are directly tested and staged. "Notably, in 2023, the Scientific Conference "Nghe Tinh Drama - Integration and Development Trends" gathered more than 40 presentations, affirming the position of Vi and Giam folk songs in the "family" of traditional Vietnamese theater, alongside Cheo, Tuong, Cai Luu...", People's Artist Hong Luu said.

Despite many achievements, the Folk Song and Giam theatre still faces many challenges. The number of actors is increasingly lacking and “aging”, while there is no professional training facility from college level or higher. New scripts are still scarce, young audiences are not interested, especially with the competition from modern forms of entertainment on digital platforms.

In that context, the dramatization of Vi and Giam folk songs is not only about preservation, but also an inevitable way to connect heritage with contemporary life. Applying technology, promoting on digital platforms, and at the same time, innovating staging methods, experimenting with combining modern music - light - images, will help Vi and Giam folk songs become closer to today's audience.

Artists, artisans, and cultural managers all agree: To keep Vi and Giam folk songs alive forever, it is necessary to pursue two parallel directions: training and rejuvenating the next generation and creating new works associated with the breath of life. That is also the way to make Vi and Giam folk songs not only a treasured heritage of the past, but also an art that accompanies the present and looks towards the future.