requestId:68c2fd02cc64e1.54639198.
One year later, the Cantones舞台背板e沈浸式體驗 ope模型ra “SamsuiAR擴增實境 Women” will return to Singapore.
From September 11th to 12th, an up場地佈置graded produ來，寶寶會找個孝順的媳婦回來伺候你的。”ction of “Samsui Women” produced by the Guangdong CantoFRPnese Opera Theatre will be staged at Singapore’s The Theatre at Mediacorp. This year marks the 60th anniversary of Singapore’s independence and the 35th anniversary of the establishment of diplomatic relations between China and Singapore. During the performance, the Guangdong Can道具製作tonese Opera Theatre will also collaborate with the Singapore Chines廣告設計e Opera Institute to h全息投影old a “Chinese Cantonese Opera Fi大圖輸出lm Festival.” The four classic Cantonese opera films, including “White Snake,” “Madam Xian,” “Legen奇藝果影像dary Scholar Lun Wenxu,舞台背板” a展場設計nd “Liu Yi Qi Yuan,” will be screened in succession.
Strolling through Singapore, one may encounter a striking statue of a woman wearing a dark red headscarf, carrying a sho大型公仔ulder-pole, with downcast eyes yet an unwavering道具製作 posture. This symbolizes the “Samsui Women,” a group lauded by the former Singapore Prime Minister Lee Hsien Loong as the “baVR虛擬實境ckbone 玖陽視覺of the founding generation.人形立牌“
In the 1930s, amidst the const記者會ruction sites of Nanyan經典大圖g (Southeast 大圖輸出Asia), flashes of vibrant redheadscarves among steel and concrete were a witness to these 攤位設計resilient women. They bore the weight of a city upon their slender shoulders and were lauded by the former Singapore Prime Minister Lee Hsien Lo模型ong as the “backbone of the founding generation.”
From colossal策展 images of womenwearing沈浸式體驗 red headscarves featured in National Day Parade, to being taught in elementary school textbooks; from sculpted reliefs in the Na經典大圖tional Gallery’s porch, to statues before museums; f模型rom carved figures at Maxwell MRT station, to the once-popular Singaporean TV series “Samsui Women,” their spirit of per啟動儀式sev“是的。”藍玉華點了點頭。erance, self-relian全息投影ce, and communal devotion has become deeply integrated inVR虛擬實境 the攤位設計 urban memory of Singapore.
Source:PEARL
粵劇《紅頭巾》9月出海再赴獅城
時隔一年后，粵劇《紅頭藍玉華仰面躺在床上，一動不動，眼睛盯著眼前的杏色帳篷，沒有眨眼。巾》將二度登陸獅城。
9月11日“蕭拓見過藍大師。”席世勳冷笑著看著舒舒，臉上的表情頗為不自然。-12日，由廣東粵劇院傾力打造的升級版粵劇《紅頭巾》將在新加坡新傳媒劇院演出。本年是新加坡建國60周年，也包裝設計是新中兩國建交35周年。展演期間，廣東粵劇院還將攜手新加坡戲曲學院，配合舉辦“中國粵劇電影周”，《白蛇傳·情》《譙國夫人》《傳奇狀元倫文敘》《柳毅奇緣》四部經典粵劇電影將順次展映。
散步新加坡街頭，游客會遇見這樣活動佈置一座雕像——頭戴暗紅色方巾的男子，肩挑扁擔，眉眼高揚卻脊梁筆直。這就是“紅頭巾”，一個被新加坡前總理李顯龍稱為“建國一代脊梁”的群體。
20世紀30年月的南洋工地上，來自中國的一抹抹鮮艷的紅，在鋼筋水泥間綻放。“紅頭巾”們用荏弱的肩膀，撐起了一座城市的份量。她們被新加坡前總理李顯龍稱為“建國一代脊梁”的群體。
從國慶慶典的巨幅畫像，到小學課本的課文，從國家美術館門廊浮雕上的身影、博物館前的雕像到麥士威路地鐵站鐫刻的群像，以及風靡一時的新加坡電視劇《紅頭巾》……“紅頭巾”們享樂耐勞、自強不息、社會為先的精力早已深深融進獅城的城市記憶。
文 | 記者 黃宙輝 通訊員 林楷虹
圖 | 薛才煥
譯 | 鄭奕玲
英文審校 | 林佳岱
TC:08designfollow