Bian Wentong
Professor and Master instructor in the Central Academy of Drama in China.
Minister of Business Department of Asia Theatre Education Centre.
She is an influential set designers in China.In 2006,won national scholarship to be visiting scholar at the Yale Drama School. In addition to China, she was invited to design in the America,Russia,Japan and Korea.She was invited to lecture in the America, Colombia and Russia several times. She won many national awards, including two times Wenhua Stage Art Awards which is the top prize of the Chinese government. And won the gold medal for the 2nd China Stage Art Exhibition.
During more than one hundred years ago, the Republic of China, the famous love between Wei Liansheng and rich businessman’s the fourth concubine Yuchun. They love each other sincerely. They hope to have their own life and decide to leave. After the defeat, Wei Liansheng was deported and Yu Chun was transferred to others. Twenty years later, they returned to the place of the year, and they did not meet. Wei Liansheng died in the snow, and Yuchun did not know where to go.Kunqu Opera：Returning Home on a Snowy NightScript：Yan QuanYiDirector：Chen JianLiSet Design：Bian WenTongLighting design：Hu YaoHuiCostume Design：Wang YuKuan, Bai LingFangMakeup Design：Qu Guang2018 SuZhou KunQu Opera Theatre, JiangSu Province
Presenting Chinese classical literature in the form of musicals, performing beautiful and ghostly love stories, singing classical romance in a modern way. This play is adapted from the Chinese classical novel "Liao Zhai". A female ghost loves the young man. I want to go to the life and death covenant forever together. In the end, the ghost and the young man are separated by two world. Reinterpreting the classic literature more than three hundred years ago from the perspective of the contemporary, using the minimalist way to deal with the stage space, refining the image from Chinese calligraphy, and using the split “合”as their intimate inn room. The word “合” in the meaning of Chinese is a combination of two, the split“合” word implies the fate of two people who cannot be together. Use a string of three “合”characters to form the tower where the female ghosts haunt; in the fire of hell, use the inverted triangle body such as the blade to slowly descend with the rhythm of the music, an urgent and difficult life and death contract. The woods are made up of translucent yarns, and if they are not, the ultimate artistic expression between the abstract geometry and the Chinese classical image, taking into account the characteristics of modern aesthetics and traditional Chinese aesthetics.
Musical< A Chinese Ghost Story >Sript：Guan ShanComposer：SamboDirector：Huang KaiSet design：Bian WenTongLighting design：Wang RuiguoCostume and makeup design：Liu Hongman2014 Pauli Sambo Performing Arts Group
With a contemporary aesthetic and expression, telling familiar stories and sketching a simple, clean, ethereal mood with a highly concise visual image.
It is adapted from China classic novel. This musical is about the combination of modern and traditional feeling. The story is about one young man fall in love with a female ghost. At last, they separated from ghostdom and the world.
The design of the hotel room where they meeting is inspired by Chinese character 合 which in Chinese means "being together".
The story of Chinese classical literature in Liaozhai is presented in the form of musical, the beautiful story of love between female ghosts and young guy, is performed in a modern way. A female ghost loves the scholars and wants to go to the life and death covenant forever together, and finally the yin and yang are separated. Reinterpreting classic literature more than three hundred years ago from the perspective of contemporary people. On the stage, we strive to make the image simple, use a minimalist way to deal with this stage space, extract some abstract image from Chinese calligraphy and music image, and put it on the stage with strong Chinese aesthetic qualities. This new Liaozhai musical is trying to find its own unique temperament and classical charm in the public aesthetic identity, taking into account the characteristics of modern aesthetics and traditional Chinese aesthetics, so that the two can be integrated. In the fire of Hell, the inverted triangle slowly descends with the rhythm of music, an urgent and difficult life and death contract.
Familiar stories, today's aesthetics and expressions, concise and generalized dance design have a sense of extreme freehand and great impact. Based on the aesthetic law of Chinese opera aesthetics, a highly concise visual image outlines a simple, clean and ethereal mood.
边文彤
中央戏剧学院教授 硕士生导师亚洲戏剧教育研究中心事业部部长
在中国是有影响力的舞台设计师。2006年获得国家奖学金赴美国耶鲁大学戏剧学院做高级访问学者。不仅在中国，同时受邀为俄罗斯、美国、日本、韩国等国做设计，多次受邀赴美国、哥伦比亚，俄罗斯等国大学讲学。设计作品多次获得国家级奖项，包括两次获得中国政府最高奖文华舞台美术奖、第二届中国舞台美术展金奖。
昆曲《风雪夜归人》编剧：颜全毅总导演：陈健骊舞美设计：边文彤灯光设计：胡耀辉服装设计：王钰宽 柏玲芳人物造型：曲光
2018年 江苏省苏州昆剧院民国时期名伶魏莲生和权贵宠妾玉春之间的悲情爱恋。他们邂逅相识、真诚相爱。二人希望拥有属于自己的人生，决定出走。事败后，魏莲生被驱逐出境，玉春被转送他人。20年后，两人归来当年定情处，未及晤面，魏莲生死于风雪之中，玉春则不知所往。用当代的视觉表达完成现代与古典的融合，在中国古老的剧种昆曲中做现代审美的舞台设计。二人因戏结缘，莲生送珍爱的戏服给玉春，如同送她所有的爱慕和思恋。从戏曲服装中受启发，用戏服衣领的形象做斜边的纱质墙面，黑白前后两道，抽取戏曲水袖的意象形成后区三道肌理纱幕，可以上下升降完成不同场次的情绪渲染变化。在戏的结尾，用放大的戏服形象做三层开合处理，黑白相间，一层层打开，让两个相爱却没能在一起的人，在另一个世界相见。放大的戏服放大了他们的信物与承诺，也放大了他们因戏结情的爱恋。
以音乐剧的方式呈现中国古典文学，演绎凄美的人鬼爱情故事，用现代方式唱响古典浪漫。此剧改编自中国古典小说《聊斋》，一个女鬼与书生相爱了，想共赴生死之约永远在一起，最终人鬼两界相隔。用当代人的视角重新演绎三百多年前的经典文学，用极简的方式来处理舞台空间，从中国的书法文字中提炼形象，用拆分的“合”字做他们相爱的客栈房间，“合”字在中文的含义里是合二为一，拆分的“合”字暗喻不可能在一起的两人命运。用一串三个“合”字构成女鬼们出没的塔；在地狱之火一场，用倒三角椎体如刀锋随音乐节奏缓慢下降，紧迫而艰难的生死之约。树林是用半透明纱做出水墨肌理构成的，若有若无，在抽象几何形与中国古典形象之间架构极致的写意，兼顾现代审美与中国传统美学的特性。以当代的审美和表达，讲述熟悉的故事，以高度凝练的视觉形象勾勒出一个简约、干净、空灵的意境。音乐剧《聂小倩与宁采臣》
编剧：关山
作曲：三宝
导演：黄凯
舞美设计：边文彤
灯光设计：王瑞国
服装化妆设计：刘红曼
2014年东莞保利三宝演艺团
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