In which works does TAMASABURO BANDO appear?

Sakamoto is composed of Saburo ばんどぅたまさぶろぅぅぅぅぅぅぅ. 2344 photo album "Muyusaburo" (talk), "Yusaburo" (female pictorial), "Yusaburo bando- Winter Tour ヨーロッパをぃて" (talk) " His performances in the United States, Britain, France, Europe, China, Taibei and other overseas countries have made the world understand the charm of kabuki art. He not only has profound attainments in kabuki, but also dabbles in dance, performance, movies, stage plays and other artistic fields. His film was shortlisted for the Berlin Film Festival. From March 6 to 25, 2008, the Chinese-Japanese version of Kunqu Opera Peony Pavilion and Kabuki Yang Guifei, in cooperation with Suzhou Kunqu Opera Theatre in Jiangsu Province, China, performed 20 performances in the South Tower of Kyoto, and performed 10 in Jinghu Theatre from May 6 to June 5 of the same year, which opened a new chapter in Sino-Japanese artistic exchanges. According to Jin Fei, the executive director of the Chinese and Japanese Kunqu Opera Peony Pavilion, this is also the biggest highlight of this edition of Peony Pavilion. "Bandong's performance gave this classic a unique aesthetic feeling, and the stage charm of Kunqu opera was vividly reflected." A Japanese who can't speak Chinese can like China's classical art, and he can thoroughly understand the meaning of the lyrics in the play, and his singing skills are perfect, which is beyond everyone's expectation ... "Why are you here?" The charm of China culture can't stop many people from thinking that Yusaburo Bando looks similar to Chinese Peking Opera master Mei Lanfang. In fact, he did have an indissoluble bond with China culture. He was born in a kabuki family in Japan, and his grandfather once performed with Mei Lanfang. When he was young, Yusaburo often listened to his father's stories about Chinese Peking Opera and Mei Lanfang, and he had a special affection for China opera and culture. 1987, YuSaburo, who is already a famous female figure (male Dan) of Japanese kabuki, made a special trip to Beijing to learn from Mei Baojiu the catwalk and sleeve-swinging procedures of the Peking Opera "The Drunken Lady". In this process, he learned that Drunkenness was deeply influenced by Kunqu Opera, which was produced at the same time as Japanese Kunqu Opera and Kabuki. Since then, he has developed a strong interest in Kunqu opera. In 2007, with the support of China Association for Cultural Exchanges with Foreign Countries, Tang Saburo came to Suzhou to watch the original Kunqu Opera Peony Pavilion and learned the role of "Du Liniang" from Zhang, a famous Kunqu artist in China. Peony Pavilion is a compulsory course for almost every Kunqu actor, but few people can really play Du Liniang well. Until today, only a few people, such as Mei Lanfang, Cai, Hua and Zhang, have been recognized. TAMASABURO BANDO began to understand the culture of China very early in order to play Peony Pavilion well. He reads The Analects of Confucius, Mencius, Zhuangzi and Laozi, and makes an international call to Beijing for almost an hour and a half every day, asking Jin Fei to explain to him the meaning of every lyric of Peony Pavilion. For a Japanese who can't speak Chinese, the most difficult thing to learn Kunqu opera is to master the language. In order to learn Suzhou dialect, Tang Saburo repeatedly memorized and practiced the lyrics and lyrics recorded by Zhang by phonetic notation. Zhang's lip-synching video has been played on TV at home. In order to give Du Liniang a mellow voice in the performance, Youssaburo, who has not eaten meat for 20 years, deliberately "quit" eating meat. After reading Du Liniang's version of Yu Sheng Lang, Zhang Qing Ji said with emotion: "Mr. Bandong is a great actor, and his performance on the stage has made other actors eye-catching." "Where have we met?" Traditional Kunqu opera can also be integrated into "Japanese beauty". This time, "Peony Pavilion" appears in the form of "all-male Dan", and TAMASABURO BANDO will play Du Liniang with two young men Dan from China. Among them, Ban Dong starred in Scared Dreams and Away from the Soul, Zheng Liu of China National Peking Opera Theatre starred in Portrait, and Dong Fei, who is studying at China Academy of Fine Arts, led the starring role. "Yusaburo's cultivation of two young people in China is not limited to drama, but also has strict and special requirements for men." Xu Fengshan, a famous Kunqu artist, said that he was very happy to see the tradition of "bringing the new with the old" become a reality between Yusaburo and two young Japanese people, and the tradition of Japanese opera was continued in the cooperation between Chinese and Japanese artists. As another participant, Cai, director of Suzhou Kunju Theatre, said that compared with the youth version of Peony Pavilion, the Chinese and Japanese version of Peony Pavilion returned to the tradition. "Yusaburo Bando didn't use kabuki to transform Kunqu opera, but performed Kunqu opera seriously according to the routine." Cai said. TAMASABURO BANDO said that compared with the grand kabuki performance, Kunqu opera has smaller performance space and more restrained artistic character, but it has great tension and artistic appeal, which makes him willing to unload his years of kabuki performance experience and concentrate on returning to the traditional performance mode of Kunqu opera. However, Youssaburo did not just follow the gourd painting, but absorbed nutrition from many aspects and shaped the perfect Du Liniang in his heart. His vocals are mostly voiced by * * *, which is close to Cheng's "Behind the Head". The characters are full of the beauty of dance modeling and are very similar to Cheng's style. In Away from the Soul, before he died for Du Liniang, he gave his mother a farewell gesture and gently pushed her and Chunxiang away. In Jin Fei's view, Youssaburo's "Japanese Beauty" in Peony Pavilion is unique. "How do you know spring scenery until you get to the garden?" The two cultural heritages collide with each other to create a new spark. From March 6 to 25 this year, the Chinese and Japanese version of Peony Pavilion was given 20 performances at the South Tower Theater in Kyoto, Japan, which was a great success. The performance was full, and after each performance, the audience applauded for more than 20 minutes, with an average of 4 curtain calls per performance. China Kunqu Opera, which has a history of 600 years, shines brilliantly in Nanzuo Theater, the birthplace of kabuki, attracting the attention of many Japanese audiences. "TAMASABURO BANDO separated the Kunqu appreciation group from the China crowd. The performance in Japan has exposed many Japanese audiences to our art. " Cai said. As the international inheritor and promoter of Kunqu Opera, Yusaburo Bando is pushing China Kunqu Opera to the world-which is also the far-reaching significance of the Chinese and Japanese version of Peony Pavilion besides the performance. On May 6th-15, the kabuki "Yang Guifei" rehearsed by Zhou Xuefeng, a young actor from Suzhou Kunqu Theatre, will also be staged at the same time. Kabuki "Yang Guifei" will use Chinese lyrics, sung by China actors and accompanied by China players using Chinese musical instruments. This is the first time in the 400 years since the birth of Japanese kabuki that non-Japanese lyrics are used as backup singers, and non-Japanese actors undertake the performance tasks. Kunqu Opera and Kabuki, two world intangible cultural heritages, will collide with new sparks on the ancient stage of Beijing in the thirtieth summer when China and Japan concluded a peace and friendship treaty.