The ancestors have been broad, and they can't withstand such a waste

Author|Xie Minghong

Editor|Li Chunhui

Before the large-scale popularity of intangible cultural heritage dramas, drama publicity in the early years already liked to play "intangible cultural heritage" gimmicks. The hairpins are a little emerald, what traditional craftsmanship has been taken. Nowadays, if there are similar banners, the first reaction of the masses may already be: the plot is not good, put it on hold here.

Intangible cultural heritage dramas, in the final analysis, are the stories of inheritance. It is nothing more than father to child, master to apprentice, hermit to the destined. But this skill is not as mysterious and powerful as martial arts cheats, and it can't be filmed like martial arts dramas. So the early traditional cultural dramas are often very strange.

In "Phoenix Wearing Peony", the Japanese salivate over Li Xiaoran's "Phoenix Wearing Peony" technique for the emperor's birthday, and do not hesitate to coerce and lure. Li Xiaoran would rather cut off his hands than let the Japanese invaders get involved in the school; In "Woman Flower", Huang Meier, played by Liu Tao, holds "Night Banquet Map", which not only reveals the truth of Yuan Shikai's assassination of Song, but also adapts it into Huangmei opera and sings it everywhere; In "The Gate of the Mansion", the Japanese also covet the secret recipe of the Hundred Herb Hall, so they staged a play of Bai Jingqi's training of the full temperament.

I don't know why, once it is set by the Republic of China, the little book must grab the traditional stunts. Of course, our protagonist, rather than broken jade, must not let the skill be passed on. In the past, "Story Club" also had many similar stories, and in the end there would be a big reversal, such as "there are no stunts at all, just with sincerity" and the like.

Nowadays, intangible cultural heritage dramas are hot, there are more intangible cultural heritage inheritors who show cars and horses, and the slogan of promoting traditional culture is clearer. Just out of the familiar Republic of China background and placed in modern society, what kind of inheritor image is popular, what kind of story is in line with the public's viewing habits and rich in cultural connotation, or is it an urgent pain point to be solved.

In "Back Waves" here, Zhao Lusi poured a takeaway on the customer's head, and the heroine of "Just Meeting You" over there pretended to vomit blood to deceive everyone that she had brain cancer in order to get out, look at this new meaning, the ancestors have to "beg to let go" when they see it.

If "Back Wave" is a male frequency

The gender stereotype of "passing on men but not women", the new intangible cultural heritage drama is trying to correct the deviation. Sun Tooutou (played by Zhao Lusi), the inheritor of the Jiang needle school in "Back Waves", is a woman. Because of her high generation, Wu Gang and Cao Kefan are her teachers and nephews, and the male protagonist Luo Yizhou is even called "grandson" by her.

But how to present such a female "little ancestor", "Back Wave" has committed the common problems of male dramas. Several times he fought with people and entered the game, stole the chickens of his fellow villagers in the middle of the night, became a staunch atheist during the Qingming ancestor worship... It often makes people feel that it is a story moved by male frequency urban cool text. Zhao Lusi's full of quacks and social experience is comparable to the young Yang Guo and those decadent retired male protagonists.

On the contrary, Luo Yizhou was born in a family of traditional Chinese medicine, and the ancestral shade accumulated by three generations of medical practitioners overwhelmed him. It is not delicate to look at it alone, but standing with the fierce and fierce girl Sister Zhao, it is very much a sense of "four love brothers". The emotional drama of the two is also a woman chasing a man, although it is the boy who confesses first, but the girl has long had a thief's heart. Just like Tang Bohu mixed into Washington to work as a handyman, just to light that autumn fragrance.

It should be noted that the reason why Zhao Lusi's role is so extreme is because she grew up in the welfare dean and entered the social dye vat very early. She has undergone a long-term transformation process from a sister who does not know the world to an aspiring young person who inherits the cause of Chinese medicine.

The real paradox is that it is not inappropriate to directly replace Zhao Lusi's role with a male, because most of the femininity has been castrated on Sun Toutou's body. Hard Candy Jun definitely supports women as inheritors, in fact, most skills require the blessing of delicate and sensual dimensions, which is generally lacking in men. What we reject is a crude "gender displacement" game, which simply changes the gender without shaping and describing it accordingly.

In the early stage of the play, Wu Gang always insisted that the Jiang family's bloodline is the orthodox view of Jiang's needle method, which also confused the audience. Teacher inheritance is indeed important, but it is debatable whether it is a "prince" who can determine a certain genre.

Wang Hou will still have a kind of Xiangning, why should Chinese medicine engage in blood theory? Just like the blackened Zhao Liquan in "Back Waves" asked Cao Kefan: "Why can she get your love and help by blood, am I not as good as a half-way medical gangster who has studied medicine for so many years?" ”

The play is called "Hou Lang", but in fact, it is secretly wrapped in small feet to engage in feudalism. Hard Candy Jun looks at the inheritor without looking at the lineage at all (later it was also shown that the identity of Sun Tou Tou is false, and he is the adopted daughter or daughter of Wu Gang's same family Xiaobailing), and should be open source and go forward, not only foreign surnames can be learned, but even crooked nuts can be accepted. Maybe one day teach a "black bian magpie" to benefit the African people, wouldn't it be good?

Tradition has its essence, of course, there are also its wastes, such as gender issues, such as blood issues, are all sensitive public opinion arguments at the moment, and intangible cultural heritage dramas need to be handled with extra care. You can't do it as the crosstalk says, "Cut out the bad stuff and add something worse."

Sometimes creators speculate and pander, but it can be counterproductive. "Just Meeting You" also has such a thing, the filigree inlay master does not want to pass on the art to his daughter with higher talent, but instead goes to cultivate a son with mediocre qualifications. Everyone thought that he preferred sons to daughters, but the result was that he did not want his daughter to work too hard and arranged an easier life for her. But the audience still doesn't buy it: thinking that girls can't endure hardships, the so-called rich daughter, is also a prejudice and stereotype.

Do intangible cultural heritage dramas need strong plots?

The ratio of intangible cultural heritage content to plot content of intangible cultural heritage dramas is something that the masses care about and often discuss. There is no plot, it is better to watch a documentary if you are dry. The plot is too outrageous, and the scene of the evil purple seizing Zhu to seize the intangible cultural heritage.

"Just Meeting You" is Yu Zheng's favorite play-within-a-play (see "Above the Clouds"), and each intangible cultural heritage culture has its own plot interpretation. The advantage is that the length is not long, and the performance is finished before the audience's freshness has passed. The shortcomings are also obvious, the entire series is fragmented and incoherent, and some of the stories are forced to give new words, which makes people feel deliberate.

In the pottery chapter, Wu Jinyan played two roles and played the story of twins and was well received because of its suspense. The audience needs to carefully distinguish the personality differences between her sister Yang Wei and her sister Yang Xuan in order to dig out the truth about her sister's death 8 years ago. Of course, because the performance is too hard, the plot of Wu Jinyan lying on the bed and crying has been misunderstood by many audiences, and this part has not yet been performed.

However, the love between Cixi and Xianfeng may be wishful thinking on Yu Zheng. Watching Concubine Zhen give her birthday and dance, Cixi played by Li Xiaoran recalled the scene of her first encounter with the Xianfeng Emperor. Xianfeng asked her what her name was, and Cixi replied: "If I return to the emperor, the white apricot in the courtyard bloomed when I was born, and the name my grandfather gave me was Xing'er." The crowd was very dissatisfied and went back: "White apricot bloomed in the courtyard, so my name is Bai Kai." ”

The masses, immersed in nine years of compulsory education, cried out: Do not whitewash Cixi, she is a sinner. Of course, there is also reasonable: "It's really bad, but how can the rise and fall of the dynasty be blamed on a woman." "Dead girl is confused, such muddy water in modern history is not something that you can get involved in as a love brain." Listen to me, casually made up before 1840, don't touch after 1840.

There is a lot of TCM content in the early stage of "Houlang", and almost every episode has references to the "Yellow Emperor's Internal Canon" and other ancient medical books. Although there was an outrageous recipe of "three-hundred-year-old house tiles soaking boy urine", it was later proved to be used as a placebo. The plot in the middle and later stages begins to be magical, and all kinds of outrageous stories are overwhelming:

Luo Yizhou has a female patient named Mengmeng, who is actually set as "sex addiction". Outrageous, thousands of years of etiquette education and Confucian guidance, how can we Chinese have sex addiction? Zhao Liquan exposed Zhao Lusi's background, and Wu Gang directly said that the other party was his daughter in order to protect her, which made Luo Yizhou and Zhao Lusi become brothers and sisters in seconds.

After Jiang Shan suspected that her husband was cheating, Xi Meijuan persuaded her to look at the opening point. Zhao Liquan, worried that the embezzlement of money would be discovered, used a wet towel to assassinate Cao Kefan, who had suffered a stroke in bed, late at night. After netizens watched Xiao Fat assassinate Cao Kefan with a nine-turn large intestine at the beginning of the year, Kefan encountered a crisis again!

These plots completely dilute the main line of Chinese medicine culture and become a six-six-style bloody family drama. It is said that teacher Liuliu has been studying for a master's degree at Guangxi University of Chinese Medicine since September 2016, attending classes in Nanning for 5 days a week, graduating three years later and spending 7 years polishing the script of "Houlang". Watching this drama now, I feel that she is not serious in her studies, and she is even less serious in writing.

Atmospheric metaphysics

"My way home was bought by the 42-hour green train. That was the price at which I bought out for the rest of my life, until later I found out that Si Qing was the buyer, and she just wanted to get married, and I delivered it. After all, she had already paid in full. ”

The praiseworthy atmosphere of "The Most Cannibal Fireworks" is actually a little bit of a web novel. The emotional line of the male and female protagonists is also a little floating, one is an adopted orphan, and the other is a social animal who grew up in a divorced family, which is a very ancient two-way redemption. But we have to say that intangible cultural heritage dramas are not very suitable for those bloody routines, the cleaner the better, the simpler the more tasteful.

The golden sentence copy of the play is very memorable. "There is a loquat tree in the garden, which was planted by hand when my wife coughed in spring, its leaves taste bitter, the sex is slightly cold, and boiling juice can relieve cough." This sentence is adapted from "Xiang Ji Xuanzhi", if anyone posts it in the circle of friends, it will definitely make people feel gurgling, and it feels just right in the intangible cultural heritage drama. The popularity of brewing tea around the stove last winter just shows that we need a bit of elegant ritual.

Perhaps in order to better match the public sentiment, young people who love traditional culture have to face some growing pains and social standards. Compared with "The Most Cannibalistic Fireworks", "Back Wave" and "Former Glazed Tiles" are handled too solidly. In "Back Wave", Zhao Lusi went to the medical center because she had no money, so she received 3,000 dead wages plus food and accommodation, which is not much different from her work of delivering takeaways.

The "second generation of cultural relics restoration" of "Glazed Tiles in the Past" did not continue the intergenerational tradition of "I repaired cultural relics in the Forbidden City", so many children only Zheng Sunian, played by Lin Yi, entered the restoration institute. The contradiction shown in the series is the choice of new youth in the face of ideals and reality. Chen Yuqi once gave up a chance to study abroad for Lin Yi, and the second time was Zheng Sunian fulfilled her dream and encouraged her to go abroad. If it were not for the preservation of intangible cultural heritage elements, perhaps none of the small group of five would inherit the "ancestral business".

It can be seen that once the intangible cultural heritage project hits these money, work, it is basically not competitive. In other words, "poor play" like "Fireworks" can persist. The female protagonist moonlight, the male protagonist has a monthly balance of five or six thousand, and lives in the 4A scenic spot. The heroine finds him, and it costs 80 tickets. How many viewers have been looking forward to the reversal, thinking that Jing Chen is a hidden rich, but it turns out that he is really poor.

Of course, it can also be put in another way. Good-looking and abstinent, a non-genetic inheritor of craftsmanship, engaged in the work he loves, every month there is a scene to collect rent, although the deposit is not much, but the victory is not high in material desire, easy to raise and easy to take. Si Qing probably believed in "The Offering of Love" and said to Jing Chen: "I am responsible for earning money to support my family, and you are responsible for watching snow and drinking tea." ”

Hard Candy Jun's grandfather is also the inheritor of the municipal intangible cultural heritage "Emeishan High Pile Painting and Banding Technique", but I recall that the old man was only regarded as a side business, and sometimes he poured money into it. In the past, it was said that the poor did not learn martial arts, and the rich did not learn literature. I don't think intangible cultural heritage dramas have to go through the trouble of taking care of reality, so that migrant workers are entangled between spiritual wealth and material wealth every day.

Let the return of the social animals, let the social animals return to the social animals. Simply let the rich children indulge in the ocean of art, maybe it will be more atmospheric.