(3G portal entertainment feature article, Editor /Kenny) On April 5 and 6, ‘Legend of Mongolia’, a large-scale epic masterpiece presented by the CPC Iginhoro Banner Committee and Iginhoro Banner People's Government, was staged in Poly Theatre. The moving story, beautiful music, large multimedia visual and sound design, the essence of the Mongolian grassland national culture, brought to the audience an audiovisual feast reproducing the essence of the ancient culture of the grassland. ‘The Legend of Mongolia’, with the Mongolian grassland as the regional background, tells a series of encounters of a Mongolian youth after his newly-wed wife is taken away by accident. In order to save his wife from being expelled in the wilderness, He was rescued in despair by a tribe. The kindness and bravery of the people in the tribe and the vibrant scenery of the nation made him feel inspired and rejuvenated, and he decide to be a brave Mongolian man.

　As the person in charge of Music Bridge culture, the producer of the ‘Legend of Mongolia’, Zhao Lin gave full trust and rights to the director San Jijia, and set up a creative team according to the director's requirements. "The company found San Jijia just because it liked his creative idea. After inviting him, the company fully respected his opinion. He would cooperate with anyone he wanted, and the creative team was decided by him according to his wishes".

In addition to the creative team set up by director San Jijia, Zhao Lin also used his ‘personal’ relationship to invite his father, the famous musician Zhao Jiping, to be the artistic director of the play. He (Zhao Jiping) is very interested in this work, and he likes to see the vitality of young people's creativity, so he gladly accepted the invitation. Although he was the artistic director, Zhao Jiping did not interfere too much with the creation of the entire team. He only made some constructive comments on the general direction of the script at the initial stage, and after that, he let the director and other team members do it completely.

In addition to being the head of the production of " The Legend of Mongolia", Zhao Lin, who is a famous composer himself, also served as the music composer of the show. Zhao Lin, who has composed music for many films and TV dramas such as "A Sigh", "A Simple Noodle Story", "April rhapsody" and "Jade Goddess", when talking about the difference between music creation for dance dramas and film dramas, he said "The biggest difference between dance dramas and film dramas is the weight and proportion of music. The stage plays take up more weight, in the stage plays, music is its soul, so when you want to express the power, texture, folk custom things, in the basic layer is to be expressed in the music. Whether it's a film or television production or a stage production, music is creating another layer of space, which is actually a space that has a direct relationship with the mind."

　　San Jijia, the director of the " The Legend of Mongolia", is an internationally renowned dancer from the Tibetan community. San Jijia himself is Tibetan, but has always had a love for Mongolian culture, he said, actually, I am very close to the Mongolian people, and I studied minority dance when I was a child. At the same time, I also like to watch Mongolian movies and TV series. From my own point of view, I have a lot of similarities with them, and the Mongolian people are my favorite people.

When it comes to the Viewpoints of the play "Legend of Mongolia", San Jijia is very confident, he said, in addition to the traditional choreographic elements, the play's choreography, temperament and the presentation of multimedia content are rarely seen in other dance dramas

As the play is invested by the government of Inner Mongolia Ijinhoro Banner, the play has a number of local ‘grassroots’ actors, for these actors' performance ability, San Jijia confessed that at first still worried, afraid that these actors in the final formal performance will show weakness, but after three months of "Hustle ", these local actors finally presented the effect that was still very satisfying to him.

The choreography of the play, which was praised by director San Jijia, was designed by Yan Wenlong, a first-class choreographer of the National Theatre of China. Yan Wenlong has been a friend of San Jijia for many years, but this "The Legend of Mongolia" is their first collaboration. For San Jijia, Yan Wenlong said with praise ‘I am very excited to have Sangiga as a director, I know what his standard and artistic appreciation in modern dance is, he is a very dedicated, has a very high artistic cultivation, including visual art cultivation of the director, which is not a lot in the Chinese dance theater director. Many directors work more on character portrayal, but he has a very strong grasp of the whole. With him as director, I believe a very valuable Chinese contemporary dance drama will be created.’ Since San Jijia is a very avant-garde dancer and director, Yan Wenlong would have his own worries during the creation of “The Legend of Mongolia”. He was worried that San Jijia would make it too avant-garde, but after countless communications, they finally found a balance point --- to make it passionate for the general audience to watch and blending personal artistic ideals into it.

Most Mongolian dance dramas, dramas and operas are more likely to begin in a realistic stage design frame, it seems like if it's not realistic, it's not like Mongolia, that place with blue sky, white clouds, cows and sheep, yurts, and so on, So the first thing he did during the initial creation was to tell himself not to go in that direction, because that would be what 90% of designers would do. In the choreography of "The Legend of Mongolia", Yan Wenlong went against tradition and took a different approach with Another Way, Innovative creative ideas that allowed the audience to see a Mongolian nation they hadn't seen before, but could still feel the ambition of the Mongolian steppe.

Due to the complexity of Mongolian costumes and the regional much differences, Tao Lei, who is the costume designer, has made sufficient preparation for this and always has to follow the plot needs to make changes when creating, ‘Mongolian costumes are divided into very fine, each banner, county and village are different, and the span from Western to Eastern Mongolia is very big. At that time, they were very hesitant to do, for example, when the wedding, the emphasis is on the Ordos side, but later, they elaborate on the migration, war and dug out the heavier history of the Mongolian nation, so in the costume was not very modern, to emphasize the intense sense of the Mongolian nation".

Many viewers have an established impression of Mongolian costumes, but "The Legend of Mongolia", Tao Lei also made appropriate innovations based on the preservation of Mongolian elements, she said, ‘For example, the cow horns during the oil lamp dance, which I drew at the beginning, the director thought it was too common, that is you can see it when you turn on the TV. Director said, can there be a different way. So, we changed it to the front, a very large bullhorn with an oil lamp. Because there is a very big thing in the front and a very long skirt trailing behind, the sense of shape is completely changed, but the clothes retain the Mongolian elements.’ After seeing the performance, Tao Lei's friend sent her a text message praising the costume for even seeing the 18th century feel, which made Tao Lei quite proud.

For Tao Lei's costume design in the play, Yan Wenlong is also appreciated, "simply reproduce the national costume, I think it is not very meaningful, but completely detached from the Mongolian characteristics to do a costume that people do not see the Mongolian elements also does not make sense. Now this set of costumes, traditional Mongolian elements with contemporary aesthetics and interest combination is very good".