Farewell My Concubine

---No madness, no survival

Exploring the translation of modern film emotion into space design.

Project type:Individual

Location:ShangHai China

Completion date:10/05/2022

In this era with diversified entertainment modes, the traditional Chinese folk opera has gradually declined.

My project Farewell My Consubine, which is a modern immersive theater narrative space design for the movie Farewell My Concubine, exploring the idea of a "everyone is nobody" era in which the big and the small are portrayed in a group play. People follow the perspective of the protagonist and reflect on whether they would choose to resist the violence of history or go along with the flow. Using another form (spatial design) to recreate the classic and bring people a new experience.

Film storyboard

Main character sentiment analysis

In young age, he was ignorant of drama and skipped music

The music is low and negative, suggesting a parting of the ways

The music is low and negative, suggesting a parting of the ways

Role relationship

Sword as the main thread

I searched some elements of the Republic of China and extracted some props for the space to be designed

When he was younger

The evolution of the ancient stage

Cheng Dieyi was sold to the Beijing opera troupe to learn to perform the character of female roles, as his identity of being male or female was confusing to him. His senior fellow apprentice, Duan Xiaolou, had a good acquaintance with him. Duan performed the male character with a painted face, while Cheng performed the female characters in Beijing opera. The two people became famous stars during the performance of Farewell My Concubine and became well-known for a time in the capital. Unexpectedly, Xiao Lou had already married his wife, the prostitute Juxian. During the Cultural Revolution, after the two brothers betrayed each other again, Cheng Dieyi felt lost in his lifelong pursuit towards art, and at last, committed suicide on the stage when rehearsing the first play with Xiao Lou again.

True overlord False overlord

Two people on the stage

The cultural revolution sent

Heyday the Cultural revolution

Concubine

Props analysis Film synopsis

Teacher

The qing dynasty father in law the Cultural Revolution period

With the change of time, the fauteuil is like the metaphor that Concubine Yu is surrounded by a group of true and artificial overlords.

Mother

Not in Character Chen dieyi

It is evolved from the classic makeup in dramashead-ornaments and facial makeup

In the late qing dynasty

In the early of the republic of the China

In ancient China, rich people kept birds, the bird in the cage is the symbol of the actors raised by the rich and powerful class, seen as delicate ornamental objects. Combine the elements of practice rope and lantern

During the Cultural Revolution, the fate of people was like walking on a dilapidated wooden bridge.

When he was younger

Period of historial development

Cut off the finger to learn drama

The Japanese aggression against China

The national revolution

After the national revolution

It uses silks and satins to express the tenderness and empty happiness of the rotten powerful class of the Republic of China.