The Gate of Heaven: The Historical Mark and the Brightness of the Future–A Summary of the New Version of “The Gate of Heaven”


Host: Australian Ocean Media Group

Time: Friday, December 1, 2017

Venue: Ocean Media Conference Room

The founder of “The Gate of Heaven”: Ding Xiaoqi, Guan Erli, Wang Yanfeng, Yan Zikai, Zhao Xiyu

Invited guests: Zhao Jiebao, Lu Ming, Zi Xuan, Fu Hong, Zheng Jieyu, Wang Xiaoyu, Luo Binbin, Xiaolin Dongxiu, Peng Spark, Ma Wei, Chen Chaoguang, Hu Mei, An Ran, Chen Baoquan, Zhao Xiyu, Jiang Tianlin, Chen Yang Guosheng, Wang Xiaojia, Qi Zhi extra fine;

Written speech: Zhu Dake, Liu Luxin

Host: Feng Tuanbin, Liu Xinwei

The drama “The Gate of Heaven” was re-arranged in Melbourne and became a major cultural event for Melbourne and even Australian Chinese in this period of time. A week after the performance, Australian Ocean Media specially invited some viewers and cultural figures from the Chinese community in Melbourne to discuss the drama. The following is a summary of the interviews organized by our reporters based on the interview records.

Opening: I also talked about the rearrangement of “The Gate of Heaven”

Ding Xiaoqi:

Let me throw a brick and lead the jade. First of all, I would like to thank the Great Ocean Media. Everyone is warm to attend the forum. We are very touched. The deputy director and some actors have arrived.

Why did you re-do this drama after 26 years? Because the drama caused a lot of repercussions at the time, every performance was very sensational, and many performances could not be played for an hour. Twenty-six years later, basically two-thirds of the new drama was changed. Why is it called “The Gate of Heaven”? Because it is a historical symbol, I am willing to keep this name and engrave it on the inscription on history. The new “Gate of Heaven” has experienced nearly three decades of history, and it represents our own experience, reflection on history and life.

I made an attempt this time and we invited the American director. In fact, before we invited the American director, we participated in a small avant-garde art festival. It was put on the mainstream art festival in Australia, but the performance time was only one hour. It is impossible to show a complete work of art. come out. Xinwei has been persuading me to change a Western director. I didn’t want to, but I slowly agreed. In September of last year, Nancy Black directed a play at the Wuzhen Drama Festival, which caused a lot of sensation. I tried to contact her that night. After reading the script, she said: “This is a subject of international significance.” Artistically speaking, she feels that there is a drama of exaggeration in the drama, the irreversibility of tragedy, and the space of modern drama. All the factors are combined. It’s really a hard script.

I want to share something interesting with you. Where do Chinese and Western artists create contradictions and collisions? For example, the second act of the original script is called “lover”. When the hero and heroine break up in the art gallery, the police find the painter’s actor and tell him that the police found a female deceased in the rainy night. In the cell phone of the deceased, the hero It was her last contact. These plots were completely changed during this rehearsal of “The Gate of Heaven.” In the Chinese aesthetic, the tragedy tends to be tragic and unexpected. Nancy makes the tragedy more realistic. I admire her very much and accept her adaptation. We had a broader art consensus after the art collision, and I learned a lot from her.

The process of doing this is far more difficult than expected. Actors have their own jobs or are still in school, and it is difficult to unify the actors’ time. Most of the actors are amateur, and the pronunciation of the lines of the lines needs to be improved. We have invited a professional line teacher from China. Devil rehearsals have been started since September, and often rehearsed until midnight, even on weekends. Director Wang Xiaoying also came specially from Beijing and gave our actors more than an hour of classes. Everyone gained a lot.

The main credit for this success was the director and the actors. This is a lovely team. We played almost seven games with almost no accidents.

Hot discussion: a new version of the drama in the public population

Feng Tuanbin:

A week ago, “The Gate of Heaven” played five days in a row for five consecutive days. Everyone here went to see it.

“The Gate of Heaven” is not a new term for the Australian Chinese community. It appeared more than 20 years ago. Last year, I re-released the footage and re-enacted this year. To be honest, I rarely participated in the forum to express my opinions, and this time I was rushing to say first.

Because eight years ago, we were preparing to commemorate the 20th anniversary of our stay. At that time, Ocean Media was engaged in a symposium on the drama “The Gate of Heaven.” The Gate of Heaven was first introduced in Melbourne from 1991 to 1992. It was a sensational event, a shocking cultural event, and a profound memory of the Chinese community, which was deposited and passed down into our genes. In the symposium in 2009, there were about a dozen people in a karaoke private room. At the end of the symposium, I raised a question. Is it possible that this “gate of heaven” will score twice and burn again? Twelve people in the play, is it possible to continue their story on the stage?

This rearrangement of “The Gate of Heaven” answers this question. The main characters in the new edition have echoes of the present and past history. This gives the drama a deeper meaning and also provides us with a deep space for thinking. This time it is presented not only with the imprint of history, but also with the entanglement of reality and the dawn of the future.

Jiang Tianlin:

I am very happy to participate in this symposium today, and I also congratulate Xiao Qi and the actors for their very successful performances. To be honest, I didn’t want to see it at first, but I was afraid of touching the scene. I have been in Australia for almost 40 years, and I have experienced the experience in the drama, although there is no exaggeration. I once wrote in WeChat that people like me who have fought in battle should “have been in trouble for the sea”. I didn’t expect to go into it and I can only say “cry eyes”. After the performance, Xiaoqi interviewed me. I think the performance was very successful. In particular, I would like to congratulate the young actors. It is really not easy for you to be able to interpret our feelings and experiences at that time. 


Zhu Dake (written):

I was once a member of the Australian students of that era. The drama “The Gate of Heaven” described the strife, pain and joy of the life of international students, which ignited all my memories. Thanks to Ding Xiaoqi, her excellent play, powerfully recalled the difficult years that are being forgotten. The great migration movement from 1980 to 1990 was a major event in modern Chinese history. However, its significance has not been clarified so far. The “Heaven of Heaven” drama has opened the door to the stage of historical retelling. Let the spotlights re-illuminate this dark time and give them the most stretch of humanity. I am convinced of the historical value of the play. What is more worthy of attention is the new generation of international students who joined the memory reshaping act as actors and they are the real protagonists of future history.

Chen Baoquan:

Talk about the historical and practical significance of this drama. Historically, the drama of that era recorded the lives of international students, their reasons for going abroad and the difficulties they faced. In the current sense, the replay of the play is particularly meaningful. Some people may say that they are old-fashioned, but so many anti-Japanese TV dramas and historical dramas in China are not only modified, remake, upgraded, and enriched. Then why can’t the “Heavenly Gate” play be played again? Not only did it score twice, but also three degrees, four degrees, five degrees. I hope that in the future I will be able to adapt it to a TV series.

This drama gives people confidence in the art of drama in Melbourne. People say that film art is a art of regret, and I think that art of drama is the art of regret. In the drama performance, which word is wrong is wrong, there is no chance to change. Movies can be edited, but dramas cannot be edited.

Fu Hong:

Xiaoqi is really persistent, and I have been studying for 30 years. I am very sure about this. In the absence of a drama industry in Australia, Xiaoqi established a team to continue his dream. Therefore, I have a very tolerant attitude towards this play.

I was shocked by the fourth act. It was the finale, and it was refined by Xiao Qi for twenty or thirty years. All the scenery is interspersed, the whole performance is remarkable, and one action shows the feeling of the bus. This is a work that fully shows humanity. Xiaoqi succeeded in excavating the inner heart of the human being. The lines of the soul dialogue are very philosophical and the most successful place of the whole drama. As a playwright, this is a great place to show it.

Peng Shining:

I want to say it in three ways. First of all, I am very touched. The drama team is very badly organized in Melbourne. I admire the spirit of Ding, including the community leaders here, young people who work in literature and art. They all have a real spirit and spirit. Supporting us and doing something for the Chinese.

Secondly, I am very much in favor of the director of this play. Her technique is relatively modern, and some of the places are slightly weaker. The director’s technique is a good complement. I think this director is very careful. I think the show has achieved results.

Third, some actors did not live in the environment of that era, but they are actively engaged, and this spirit deserves our praise.

cast members to cooperate with each other, so the requirements for actors are very high.

Hu Mei:

Xiaoqi is also my friend for more than 20 years. The first time I watched the “Gate of Heaven” performance in 1992, I was crying and screaming. I was too addicted to see the first game. I was deeply impressed. At that time, “The Gate of Heaven” was the first play of the China International Arts Festival; on the basis of this play, the China International Arts Festival was born. So when I took over the China International Arts Festival in 2014, I always hoped that I could put the Gate of Heaven on the stage. So I am very happy to have a continuation of “The Gate of Heaven” today, and I am very happy that “The Gate of Heaven” has added new content. I really appreciate Xiao Qi’s work, and the lines are very vivid, especially to impress people. “The Gate of Heaven” is a historical symbol, we record it, it will become a history. There are many difficulties in making a drama, and this pressure should not be borne by the creator. This play belongs to our generation. As long as someone is ascending, everyone is willing to try their best to help support such works of art.

Chen Chaoguang:

I went to France to study in 1983. In Australia since 1985, I have been in Australia for a long time. I am very grateful for this script, which deeply reflects that era. But I feel that the gap before and after going abroad can be even bigger, and the dressing of international students can be more lonely. There are also several feelings of going abroad in the early years. One is that after going abroad, it feels like there is no money. This is very realistic. Another is that it is not important whether the biggest feeling after going abroad is free. I was curious at the time. In addition, the poor English at the time would make a lot of jokes, and the feelings of high consumption abroad, these relatively humorous life experiences showed our suffering at that time. Overall, I feel very good about this play.


Last year, I took a very serious look at the first performance. I didn’t say a word on the road. When I got home, I told the gentleman that you should get off the bus first. I stayed in the car for a while. At that time, my thoughts were tumbling and I wrote a post-view. This year’s performance, I am particularly active in buying tickets. One is to express support and one to express love for this play. I have been looking forward to this show since last year. During the performance of the show, I was pleasantly surprised to find many excellent actors. I met Ai Mei and the rebellious daughter of George. Therefore, I feel that this performance is a success. Some actors are peers (real estate). I work very hard for 6-7 days a week. I think they can finish the show in their spare time. I admire it very much.

Zhao Jiebao:

I don’t think I understand art. I didn’t go to see “The Gate of Heaven”. It’s not part of the forty thousand, so you can’t say that you can feel the same. So I don’t know why Australia is a paradise. I don’t think it is necessary, it is a place. Your theater is called a tree theater. I used to know a crew called a seedling in Malaysia. You are very big, I hope you can continue to grow.

Zheng Jieyu:

After watching this scene, I feel that everyone is worthy of praise and sound. I saw them very moved. The world is afraid of no one to care about it. I think that such a good repertoire should be given enough attention. Without the sponsorship and promotion of the business, those artistic talents will be greatly restricted.

There is a saying I will always remember. Every new immigrant to Australia is a regeneration. If it refers to the soul, it means that we will re-find the cultural destination. I personally think that the end of our soul is supported by art.

I have to admit that China’s history has undergone tremendous changes and dislocations in the past 30 years. Therefore, I hope that this drama can stand at a higher starting point and cross the historical time and space. The more realistic a thing that can penetrate history, the more it can touch people’s hearts and leave a mark

Chen Yang Guosheng:

I think this play is very moving. I don’t belong to the generation of forty thousand, but this play makes me feel deeply. I have known Xiaoqi for many years, and I really like her attachment. She is fully committed to the cause she believes, and you will feel her strength. I told Xiaoqi that “The Gate of Heaven” you have to write again, because this is a story of a generation. This is a history, which is due to the collision between specific political space and cultural space. Dramas may not be produced in other countries. The play of Xiaoqi is a monument to history. This is a great contribution to the entire Australian cultural society. From this perspective, I look at the social, cultural and political values ​​of the play.

Later, I talked with director Nancy a bit. Nancy said that her biggest feeling is “Honestly, I just love these Chinese people, I’ve neverthought I could do much much, I’ve learnt so much.” The famous director of the art world, she sincerely said that she learned a lot through this play, she put herself in such a position, in order to find the feeling of the life of international students.

Nancy said that she is a director. She has a regret that she spent a lot of energy to communicate with the actors. She said that if we have professional actors, the effect will be better. Then I look at it from another angle, because this drama is not an officially trained actor, but it can perform such social effects, and it shows the strength and potential of our people. I told Xiaoqi that the previous “Heavenly Gate” was the first version, now it is the second version, and there must be a third version in the future. The third version, as many of us have said, can be a more complete play of George. I hope that Xiaoqi can stick to this drama. You deserve our respect and deserve to be respected by history. Thank you very much for your contribution.

Ji Jiahui:

I am now a student of the University of Mexico. I think this drama is very meaningful to us. Although it is not in our time, it can let us see what kind of life life the previous generation of immigrants used to have. My undergraduate degree is also a performance, so I have some feelings in the process of watching. I am deeply impressed by the set because it gives me an image that allows me to use my imagination.


Liu Luxin (written):

Overall, the impression is very deep. First, the actors’ acting skills are superb. Every actor is very committed, very serious, and very entertained. Second, the switching, coincidence, and deduction of the scenes are all very good. Third, the narrative of the plot is very successful. Fourth, in terms of the description of the theme, if we can stand a higher angle from the perspective of the Chinese, and people want a better life, the theme will be sublimated. The reality is also true. Not only Chinese, but everyone will have problems in the drama. This is the universal human problem that often occurs in Shakespeare plays.

Qi Zhichao:

I said something, two “difficult”, the first “difficult” is commendable. It’s very hard for Sister Qi to discharge this drama. I liken it to Yugong Yishan. This spirit of persistence is commendable. This kind of spirit is not put on the drama, but when it comes to other industries, the Chinese will also achieve great results. From another perspective, the increase in the number of Chinese in Australia, from the expansion of the art market, and from the fact that the Chinese socialization division is becoming more and more dense, it is very valuable for a tree theater to adhere to the art road. The second “difficult”, I think it is a rare theme, the meaning is constant, this has been said by everyone.

Guan Erli:

As the deputy director of the play, I heard a lot of viewers’ comments on our play, including some suggestions, all in mind, thank you very much. I am a graduate of the Melbourne Theatre Academy, so I may be familiar with the style here. Mr. Ding taught us a lot about the cultural background of Chinese drama to help us to integrate Chinese and Western dramas, so it is possible to be satisfied. Outcome,

In fact, at the end of the game, we are still changing, including everyone between the seven performances. After the end of the sixth performance, during the rest of the afternoon from 3 pm to 7 pm, everyone is still communicating, and what else can be done better. The opinions put forward by everyone let us see that there is still a lot of room for improvement, and we hope to make better works to give back to everyone’s support.

Wang Yanfeng:

As an actor in a tree, I don’t want to say goodbye. We rehearsed together day and night, and none of them was for the return of benefits. I found that we are all chasing dreams. I am especially grateful to Sister Qi for writing this play for us. I want to make a testimonial with my lines. This line is very interesting, it is George’s bitter, a paranoia floating from the dream. Below, the scorpion smashed and played Lingling, and I will demonstrate it again.

Lingling: Then tell me what our family is like.

George: How many times have people told you?

Lingling: People want to hear, you will talk about it.

George: Good. Our home is a small yellow-eyed building, which is located on a small road leading to the sea. The path is lined with tall French sycamore trees, like a large green corridor. It was the most beautiful at dusk. Whenever I got off work and drove home, I saw the golden sun shining through the thick leaves and sprinkling on the ground. I felt like I was driving on the road covered with gold.

Looking back, for the works of forty thousand


Ding Xiaoqi:

At that time, we came to Australia. The group of people who came to Australia eight or nine years ago was called “Forty Thousand”. In fact, there are nearly 800,000 people in this group in the world. It is said that the total number of people involved has now reached Tens of millions. In just 30 years, these people have lived and worked in various countries. I feel that this group of people have left their homeland and made many contributions in the past 30 years. We have to give this group a symbol. This is a ho The history of the great migration. In the next 20 years, we will be recorded by history and become a group of people who have made great contributions in the modern history of mankind. After a few hundred years, people will continue to study this group.

Liu Xinwei:

This group is the protagonist of “The Gate of Heaven”. In other words, “The Gate of Heaven” was born for this group. This drama is a history of a group of people, a very very difficult and very glorious history of living history. Ding Xiaoqi is the record of this history.

Wang Xiaoyu:

The great migration of the 1980s and 1990s has a very important position in Chinese history or in the history of the world. These foreign students who became early new immigrants are very rare, hard-working and highly educated. They graduated from college and are very neat, 30 years old.

Chen Baoquan:

I arrived in Melbourne in September of 1988. At that time, I only took 200 Australian dollars. In addition to class, I went into work. I remember one day, I saw a speech in the newspaper called “The Gate of Heaven”. After I saw the title, I rushed to it. At that time, I didn’t know Ding Xiaoqi. After watching one, I felt very deep, because it is very close to life, just like what happened in front of us. Many of the names of the actors at the time I remember now.

Fu Hong:

The play itself has a big background and a big background. In the past few years, the 20th anniversary of Dayang Media’s residency commemoration was very good. It respected history very realistically and showed our 20 years of golden years. We published a thick book, “Residing Years”, which recorded all of us. History of struggle. I think if we have been in the past 50 years, we have not existed forty thousand. What position can this group occupy in the history of Australian Chinese? How much attention do these people have to us after 00? The understanding and historical value of The Gate of Heaven is also here.

Xiaolin Dongxiu:

I am also a family of 40 thousand who came to Australia in 1995. Although I was not in Australia at the time of 89-95, I also understood their affairs. I have also participated in many discussions about this. For this period of history, don’t kill it, this is very valuable. Because no one is going to do it, it will be covered and drowned. Especially now there are a lot of self-media, now the passion and speed is too fast, if you don’t keep it, it will soon be overwhelmed.

Guan Erli:

Everyone is talking about history. It cannot be said that forty thousand things have passed. It is a single event. It cannot be seen independently. It is a process of continuous development. Our generation can’t say that we are young, we were born late, and we completely got out of contact with the previous generation. This is impossible. We have been carrying it down and have been flowing in our blood. It is the same culture and spirit. These things are not optional.

Stage, talks about performances

Chen Baoquan:

In terms of actor acting, I was very impressed with Yan Feng. I didn’t expect him to perform so well on the stage of the drama. His performance was in one go. In addition, some people say that the young actors are not as good as the actors in the past. I think it is understandable because the first generation of actors have personal experience, and many of them are professional actors. In contrast, young people may not have a life experience, and time is more hasty. I think that the problem is right, and this has the goal of struggle.

Fu Hong:

In the original scene, there were a group of professional actors, such as Xiao Nonggang, who spoke loudly and professionally. However, we do not have this condition in this batch. Most of them are students, so in terms of quality, they have not surpassed. I was late at the time, sitting in the last row, as a drama, did not pass the sound to the last row. In addition, some actors have problems with unclear words. Therefore, no matter how high the level of the director, if the quality of the actor is not enough, it will not reach that level of art. There is another problem, because the director’s performance area is too far forward, I can’t see what happened in the last row. From the perspective of self-entertainment, we are still very tolerant; if you as a creator can absorb this opinion, pay attention to these situations in the next performance, I think it will receive better results, this is my personal opinion.

Luo Binbin:

Teacher Fu Hong said that regarding the drama actor, I have different opinions. I think that as an actor, you don’t need to be very professional, including our moderator. If it’s not a word, it’s okay, it’s okay. It’s okay if you say what you want to hear and what you want to say. This is my feeling. A thousand people have a thousand Hamlet in their hearts, and everyone has his own interpretation. On the stage of the drama, you only need to put the imprint of that era, you show the feelings of it, in fact, complete the role of the task. If I am an actor, I use my own feelings to give the characters in the drama a soul, and it will be very lively. If you can’t hear the voice of the actors, you can add wheat, which can be achieved by technical means.

Peng Shining:

I am a new immigrant. Formerly the Institute of Music of the China Academy of Art studied cultural anthropology. Before that, I had an actor experience, starting from the age of 20 to play a drama. I think that what Mr. Fu Hong said is especially true. We have to say too many beautiful words. We can write a lot of hymns. But good things are good, we need to improve, and we really need to accept them modestly. Only modest acceptance will make it better. So I think everyone is just from a different perspective. Therefore, the opinions put forward by Mr. Fu are very precious. The situation that Mr. Luo said just now is called a traceless performance. Everyone’s voice can have different colors. This is a style, but it cannot replace the stage requirements of a rational profession.

Looking forward to a tree with a forest

Wang Xiaoyu:

There is a very big regret. The drama of the year did not know how many words and comments were saved. I made a suggestion today, hoping that the text and video of the show will be preserved. Because each generation has different feelings when watching this drama at different times. When I saw it for the first time and the second time, my mood changed a lot, hoping to attract the attention of a new generation of readers.

Jiang Tianlin:

I would like to make a suggestion that the tone of this play does not present the success of our generation. Our generation is not very brilliant, but there are many people who are successful. At that time, we had nothing at all, and we were able to fight like this in an unarmed situation. Although successful, there will definitely be something lost. After five or ten years, take another shot and add some stories of successful people to see what they got and what they lost.

Fu Hong:

I don’t agree that some people say that they want to write some achievements. It is an artistic creation. I feel that I can write more failures, not just sings and praises, including today’s symposium. It is necessary for us to put forward some opinions on this drama.

Chen Baoquan:

If you want to say something regret, I think it can be supplemented in the soundtrack. I also hope that if “The Gate of Heaven” is played again, there will be a theme song. I think that the whole drama will become more flesh-and-blood and more complete.

Fu Hong:

I don’t agree to add a theme song, it will become a TV series.

Peng Shining:

A tree is unique. I hope that whether it is entertainment or art, I will do it seriously, and I will have a return and applause.

Ma Wei:

I came to Australia in February 1992 to study at Latrobe University. When we graduated, we went to work for Ding Xiaoqi’s company. Last week was very special, we got together and discussed the things we have experienced together. So I was very touched. I want to express my own views on this drama. make persistent efforts. I am thinking about the three principles of people, who am I, where do I come from, where do I go. I think this is the ultimate problem. I hope that the lower part of the play can continue to work hard in these areas.

Zheng Jieyu:

I want to say business planning, business planning, I suggest to change it into a network drama, because the network is very powerful, the drama is very difficult to do. In fact, there are still domestic markets, subsidies for film and television shooting, 40% of the return, you can consider the business model, do not hang on a tree.

Xiaolin Dongxiu:

I want to say four sentences and give it to a tree team. A tree, a play, a tree turned into countless trees, and a play brought out countless plays. Thank you.

Lu Ming:

。I am one of the forty thousand. If you need music and write about our feelings at that time, I can pay attention. The drama itself is very good and full of soul. Have a good script and have a good performance. Because it stems from our lives and comes from ourselves. So I think we have to push for it, everyone has to do it together. I feel that no matter what form of art, as long as it is done fine, it will be fine. There are good scripts, good actors, good public relations planning, and everyone’s atmosphere is mobilized. The actors must have a soul figure. Bring the soul figure out.

Qi Zhichao:

I don’t think there are enough media people to look at it. There are not enough reports in the previous period. Whether it is media communication or communication, I think the communication of business planning can be further strengthened and can be seen by more people. Looking forward to it, I feel that I especially hope that a tree theater can have a story that reflects the new generation of Chinese business immigrants and a new generation of students. At the same time, I hope that a tree can be evergreen and can bring us more unforgettable works of art.

Luo Binbin:

“The first time” is exciting and full of joy for everyone. (The Gate of Heaven) This drama can be said to be the first time to rehearse with our Chinese-established drama club “One Tree Theatre”. For the first time, I cooperated with famous western directors; for the first time, I took the original Chinese drama to the local mainstream art stage… So I think that so many “first time” makes us feel the pride of the country, the launch of this drama It will definitely make a great deal in the field of multicultural construction in Australia. The performance ended perfectly, but the mission of a tree theater has just begun. I hope that the theater will be able to perform works closer to the real theme in the future, so that Chinese living abroad can proudly say that we not only have good mountains and good water here. Good air, we still have a “good big tree”, and hope that “going, let’s go to a tree to watch a drama” can become a kind of expectation and a new happy lifestyle.

Part of the guests