The sectarian conflicts that affected a large area such as Xiling Town, Taizhou, and Zhongzhou made Ye Tao spend two whole months in tension and anticipation, so when he and Tan Weiming came to Danyang again, the Grand Theater had been completely completed, and even the opening performance of the Grand Theater was almost completed.

Because of the creation of Ye Tao, Tan Weixin and others, there are rich performance forms, and there is also a so-called "artistic director" position to control the process and style of a play. In Danyang, those who do good things have tried to direct the same play with different artistic directors and directors, but the results are usually completely different. After Liu Xiangyuan's troupe's original version of "Liang Shanbo and Zhu Yingtai" went offline, several small troupes rehearsed according to their own understanding, but from tragedy to comedy, they actually made a series of derivative dramas. In this way, while enriching the performance market and performance categories, it also makes everyone pay more and more attention to the special functions of each role and each position in the troupe. And this time, the opening performance of the Grand Theater will also be the curtain call performance of Tan Weiying, the best artistic director recognized by everyone now, in Danyang. The reason why Tan Weiying is considered the best is not only because she always provides sufficient funds for the troupe, but also because she seems to have a unique insight, an insight into the kindness, bravery and warmth of each character's heart. Those positive roles can be explored deeper, and those negative roles are often enriched and three-dimensional in the repertoire directed by Tan Weiying. Among the many plays that have been staged in Danyang now, almost all of the villains that are still often mentioned are all discovered by Tan Weiying.

And this time, Tan Weiying worked hard to organize the opening performance in the Grand Theater. From the beginning of the planning and design of the Grand Theater, she began to write the script, and discussed and negotiated with the play called "Midnight" and professionals such as Liu Xiangyuan over and over again.

"Midnight" describes the era when the Tang Empire fell apart. In the repertoire, Tan Weiying describes all kinds of difficulties and all kinds of life in the empire at that time. Interpret the various reasons and human nature of the courtiers of the empire at that time and then become the lords of the country one by one, especially the founders of the four kingdoms of Dongping, Xiling, Chunnan, and Northern Liao, which are now divided into four parts of the world, and they are even more emphatically portrayed. She concentrated all kinds of internal and external troubles faced by the empire in the last years of the empire, and various public and private conflicts inside and outside the court to erupt overnight, and used six acts to tell extremely complex stories. Not only to tell the story of the year clearly, but also to constantly create conflicts and **, so that all the audience can be immersed in it, and will not find this two-and-a-half-hour repertoire boring. It was a night when a stale empire was heading to its death. It is also a night of leading the people to a new path and a new life with heroes of various destinations. Although she is the princess Yuxiu of Dongping, when writing the script, Tan Weiying was actually more objective in her position, especially after learning the true story of the last prime minister Chen Jia, she was content to rewrite all the scenes of the only villain in the original play, and portrayed Chen Jia as a complex and plump character who dared to bear notoriety and hope. And to the founder of Dongping, the ancestor of the Tan family. She did not shy away from the reckless nature of the talker, and the degree of artistic processing was not much more than that of the founders of several other countries.

The system is such a grand repertoire, and she has revised the script before and after I don't know how many times. After the script was initially decided, he discussed the historical facts and artistic processing of the repertoire with Pang Rong, a scholar of Mandarin Palace, on the technical and artistic aspects of the play. Whether it is necessary to praise one's ancestors to heaven and whether it will damage the honor of the Dongping royal family and other issues have been fiercely debated. Pang Rong's insistence on "defending His Holiness" is ultimately no match for the Tan Jia's tradition of never avoiding the question of his origins, but in fact, the only effect of such a heated debate is that everyone suddenly discovers. It turns out that the eternal child in everyone's mind, the forever beautiful and lovely embroidered princess, also has such a persistent, persistent and rational side. She has grown from a little girl to a radiant young woman now, daring to love and hate, and daring to speak her mind.

In fact, from the beginning of seeing the script, Tan Xiaopei, as a father and the lord of the country, fell in love with this drama. Whether in terms of concept, form or content. It's probably not an exaggeration to say that this drama can set an example for hundreds of generations. Throughout the script, almost every line stands up to criticism, and every conflict exalts the power of history. If he didn't know the time and energy that Tan Weiying put in, and knew every process of the progress of the script, Tan Xiaopei really couldn't believe that such a script was actually written by his daughter. And after Pang Rong couldn't get Tan Weiying to make concessions, he did what he was most willing to do as a lord of the country and a father: pay the bill. All the funds, which he appropriated from the funds of the Inner Government, all other needs. As long as he can help. Although Tan Wei Ying spoke.

And from the script to the performance, it is even more necessary to solve the problem of not knowing how much. Such a big drama. It is also the premiere repertoire of the Grand Theater, and the requirements are jaw-dropping. Rao is Liu Xiangyuan's troupe has always been strong under Tan Weiying's personal care, but it is still a little powerless in this kind of repertoire that is full of dramatic tension from the beginning to the end and needs more male strength. Fortunately, Tan Weiying is the princess who all the children of the family look up to, after all, she is now all the people who read the sky, and the pillars of those other small troupes were temporarily seconded to play the role. There are even some people who have made cameo appearances in the repertoire because of fun in the past, and who have performed well, and who are now serving in various places in Dongping, have been borrowed by her in various ways. After three performances, when will this "Midnight" be staged again, I am afraid that it will only wait until the next generation of professional actors grows up, driven by the prosperous performance market in Dongping. The set, stage design, lighting, costumes, makeup, etc., are all prepared at the expense of local work, and there are thousands of pounds of whale oil used to test the lighting effect during trials, rehearsals and rehearsals.

There are as many as 2,900 actors and staff involved in "Midnight" before and after, and no one can count the money spent openly and secretly. In addition to the accounts, there are various supplies and equipment supported by various parties. There is no way to calculate the price of a set of crystal slides and two sets of spare slides that Yip's workshop used to match the entire repertoire for "Midnight". It's not just a matter of crystals and artificiality, how many telescopes and sights could have been used to make those crystals? How much profit can be generated? No one can count this. Many of the materials used to make the clothes are the top silk that has been stored in the palace for many years, and the masters who make the clothes are all the masters supported by the royal family, and these are not calculated by price. As for the relationship between Wei Ying Nengtuo, especially the temporary secondment of court officials to act, this kind of favor is even more terrifying. Although they knew that this was not a good thing, everyone still let Tan Weiying do everything as they wished, so as to achieve her perfect curtain call.

Even after Ye Tao came to Danyang, he wanted to meet Tan Weiying for the first time, but he could only be in the Grand Theater. After inspecting the finishing works of the Grand Theater and presiding over the adjustment of some detailed acoustic components in the performance hall, Ye Tao became the first audience to practice together from the beginning to the end of the whole play of "Midnight".

Cutting a complete play into details that are constantly interrupted, striving for perfection in a line, an action, a chant, and performing the whole play as a whole feels completely different. There were no intermissions, no intermissions, no interruptions of applause and cheers, and the actors themselves seemed to become one with the characters they played for two and a half hours. Those passions, regrets, sorrows, angers, and hatreds seem to really happen in everyone's hearts, and when the performance finally ends, according to the arrangement, the entire audience is empty, and there are not a few people sitting in the curtain call, everyone suddenly finds that they have done what they can't usually do, and the emotions they burst out and the words they perform are far beyond the level of the usual rehearsals. In the whole group portrait of the end of the empire, everyone is so vivid.

At the end of the rehearsal, the actors all returned to the dressing room, while letting their emotions gradually cool down, while reflecting on their performances, reminiscing about the feeling of being one with the characters just now, and thinking about how to do better in the next performance. Everyone has the same thought: Ye Tao and the applause of those around him are too little...... When facing the entire auditorium, when the entire auditorium erupted in thunderous applause, when many people cried over the content of their performances, what kind of achievement would it be and what would it be like?

At this point, the show's staff began to review the details that weren't perfect, the lights that should have been on but didn't, the sets that were misplaced in a hurry, the costumes and make-up that didn't look quite right, and the crystal reflectors that were placed in front of and behind the stage to give the actors a hint of how unreliable they were......

But Tan Weiying was eating with Ye Tao, Tan Weixin, Dai Yun and others with a sense of accomplishment at the moment. The results of this hectic and hectic situation made the Sentinel relax a little, but it also made her more and more hungry. And the special smoked venison that Ye Tao brought from Yunzhou was steamed, and the aroma wafting out made Tan Weiying's index finger move.