Southeast Lefu this is strong, live tiger born dragon one letter fang!
Fearing that private feelings will mistake the country, the silver altar will be re-engraved with "Chopping Scripture Hall"
Because this is a Peking opera that is originally very moving and preserves the folk "wildness", because this is a communication between film art and the old excellent performing arts, because the main actor of this drama is our friend who we usually respect very much, and this is one of his masterpieces, so I watched the "Chopping Scripture" film with great excitement, and I was not disappointed after watching it. Some places even give us great appreciation for the art.
"Silver light gives new life to the old stage!" That's how I felt when I watched this film. But I still insist that the filmization of old Chinese dramas is meaningful and effective work. The old play that has been moldy, through the performance of the famous and famous with a brain, especially through the new art of film, will surely give new touches to the modern audience.
But the filming of old dramas is indeed a very difficult and troublesome job. It must preserve the benefits and characteristics of these two arts, and it must also ensure that the particularity of the two is not interfered with. It is to preserve their "diversity" and to have its "unity" as a new work of art, so I argue that this kind of work must be a new interpretation of old plays by the cinematic arts, and to unify the contradictions between them from this understanding.
Zhou Xinfang and Yuan Meiyun's "Chopping The Scripture Hall"
There are general people who think that film is realistic and old drama is freehand, or more correctly "stylized". But we should know that "styling" is not the "solitary" of old plays, we can have "stylized" films in the same way, and there have been. In addition, one of the biggest characteristics of China's old drama is "freedom of scene". Things from ancient and modern times, east to west, south and north, when it is said and where it is performed, are not limited by the background. But this feature is the same as that of film art. No, old plays are free without background, but movies are qualitatively free to use any background. In this regard, the film has a great complement to the old drama.
It is also said that the old play is three-dimensional, the audience can enjoy the actor's performance from any angle, but the film is flat, and it is difficult for us to have a satisfactory appreciation before the success of the attempt at a three-dimensional film. But the most progressive thing about film is the use of light. Hikari is also the soul of the stage. And China's old stage has hardly been baptized with new lights. The old actors' dancing postures, acting skills, and the folding of their clothes have never played the beauty they should have under the rich and subtle light waves. Although they have a three-dimensional stage, they kill the dull lighting of the plane. At this point, the progressive art of cinema is enough to give new life to the old stage. Moreover, the value of the art of cinema has increased rapidly since Griffiths (the director of the silent film "Lai Marriage") invented the "close-up" and other filming methods. The excellent performances of the old actors, their hands, eyes, bodies, laws, and steps, can only leave a deeper impression through the film.
The film stars and crew of "Chopping Scripture"
In these senses, the cinematization of old plays is blessed. This can not only increase the material of film art, but also stimulate the old Chinese opera to gradually improve it.
The filming of Hua'an Company's "Chopping Scripture Hall" is still in the process of technical exploration, and there are still many obvious contradictions and irreconcilable here, such as the shot of the war horse galloping and the figure of Xinfang's horse. Therefore, his own success cannot be overestimated, but the instigation of the theatrical reformers will be great.
Because "Chopping the Scripture Hall" is one of Mr. Xinfang's best plays, there is no doubt about the excellence of the performing arts, even if the singing is clean and powerful. If there is anything deficient, it is about his very kung fu hand-eye-body movement, and there is no "close-up" in sight. This is a bit contrary to our expectations. According to Mr. Tao Bosun, there were many close-ups, but because the makeup of the old drama was rough, the close-ups were quite ugly, so they were not used. But I always hope to overcome this contradiction, quite a few people recommend the four famous Dan to make movies, I don't know men play women, close-up out is more revealing.
Zhou Xinfang's "Chopping Scripture Hall"
The benefits of this filmization, in addition to the flags displayed, the majestic Guanzhai, the secluded peach forest, etc. help the development of the plot, there are subtitles to help the audience understand the lines. However, the main disadvantage of the old drama is that the lyrics of the play are not hidden. Some places in this drama are quite blunt, some places such as "complete the child's successful name" and other meanings are inevitably shallow, and Wu Han turned back to cry out of the customs: "Dear mother! Why stop calling out "virtuous wife"? That would echo the theme of wife-killing, and Wu Han's mood would be described more naturally.
The most beautiful words in this play, I thought wang Lanying sang: "Man, there should have been a thief-killing sword, why only force me to die a bitter life?" Only these two sentences contain a little modern thought. Miss Yuan Meiyun, who went to Wang Lanying, was more than mature and fluent because she was "childlike" for old plays, but the deep tension in her expression was not enough, and her face was haggard than before. This gentleman really ruined her environment. Remembering Mr. Tao Zhixing's (now Mr. Tao Xingzhi)'s yin yin instructions about her a few years ago, I was overwhelmed with emotion. So I wrote these words: "Eleven years ago, I saw Meiyun, and the song was gentle and turned away from the crowd." But pity the haggard spring river, cherish Fang Lan Mo self-immolation. ”
Yuan Meiyun's "Chopping Scripture Hall"
Playing Lao Dan is also very good. A certain Jun even said that Xinfang's performance in front of the chair after her mother threw her sword away from the chair, thinking that the chair was also making a play, which was correct. This play objectively shows the strength of the maternal domination in the old family, that is, "the mother's life is difficult to violate". Although Wang Lanying was unfortunately the "daughter of Wang Mang", she directly made a sacrifice of maternal power: "Qiantang took the order of her mother, and jingtang cut off your head, I should not have killed you, how can it be that my old wife Qiantang and other heads." I should have killed you, but it is difficult for our loving couple to poison hands, this is why it is difficult for the horse to turn back to the cliff, and it is difficult for the boat to fill the leak in the heart of the river. Good husbands and wives become enemies and enemies, and they dare not stay only for the hatred of the king's father, and the tears flow like rain..." Such a fierce and miserable cry of bitterness is really a bit of a Greek tragedy.
Mr. Xiufeng, a friend, said: "Although "Chopping the Scriptures" purely reflects the ideology of the feudal era, the plot is poignant and moving, and it is painfully and profoundly written under the conflict between morality and human feelings. "It's really a "comment" of this play.
From the filmation of "Chopping the Scriptures", friends talked about the issue of historical dramas. But I think that although the old Chinese dramas are mainly historical dramas, most of them are only based on the legends of the past and have little to do with the real historical facts. However, the general public's concept of national history is mostly derived from these unreliable legends as the theme of the drama, about the development of China's economy and culture, there is no distinction between the stages, and the praise and disparagement of historical figures are also indiscriminate. This is a very problematic thing. Take "Chopping the Scriptures" for example, this play can only be "gu vainly singing, gu vain listening", if it is really a "historical drama", it can not be established.
The first is the question of the truth and falsity of good and evil. The play "Chopping scriptures" is written in a passage when "Wang Mang usurped Han, and Emperor Guangwu raised troops to restore the country". The main idea of the author is that we should stand on the side of the orthodoxy and sympathize with Han Guangwu and hate Wang Mang. But according to the new historians, Wang Mang did not have to be such a hateful figure.
To be fair, Wang Mang was indeed a very intelligent and courageous politician of the Han Dynasty. At a glance, he could see through the most important symptoms of society at that time ("mergers and acquisitions, greed and contempt, the strong ruled the land in the thousands, and the weak once had no place to stand"; "the rich were proud and evil, and the poor were poor and adulterous"), which gave rise to his motivation to reform the land system. In order to avoid the opposition of the rich and the rich, he "reformed the togu system" everywhere... In order for this kind of reform to proceed smoothly politically, it is even more necessary to replace it with the Han Dynasty. See Cai Xuecun, Peasant Wars in Chinese History, vol. 116
And what about Liu Xiu, the so-called "young lord of the Han Room"? The new historians estimated the reasons for his rise this way:
Liu Xiu, who represented the landlords and nobles, also rose up to participate in the struggle against Wang Mang's regime because he was not satisfied with the attitude of Wang Mang's regime swinging left and right, that is, he could not resolutely and faithfully represent their interests. Just like this opposition ruling class... Taking advantage of the situation of peasant power, Wang Mang's regime was finally destroyed. See page 123 of the same book
Wang Mang saw clearly the social conditions at that time and wanted to realize a reform movement that benefited the peasants from top to bottom, but he could not but take back his life because he was restrained by the landlord bureaucracy and relied on them to rule the peasants. After the failure of the reform, the peasants were disillusioned ideologically, and their lives were aggravated by the great famine caused by long-term land relations. Liu Xiu used the peasants to overthrow Wang Mang, but he also suppressed the peasant forces and restored the power of the landlords and nobles. Here we really cannot follow the author of the "Chopping Scripture Hall" to unconditionally "rejuvenate the Han Dynasty and destroy the mang."
Wang Lanying said: "Since my father Bingzheng came to power, the green forest has been everywhere, the people are in exile, and all of them are the sins of my Wang clan", and we cannot agree with this "self-criticism", because the phenomenon of "green forests are everywhere, and the people are in exile" can never be pushed on Wang Mang alone, but the land system of the entire Han Dynasty. Otherwise, why, after Wang Mang was overthrown, after the Eastern Han Emperor Yongping rose up until the end of the Emperor Xian, for decades it was still "green forests and people in exile", and finally converged into the Yellow Turban Rebellion?
As for Wu Han's origin and his relationship with Liu Xiu, it is as follows:
Wu Chinese character ZiYan, Nanyang Wanren. The family is poor, and the county is the chief of the pavilion. At the end of Wang Mang,000, he broke the law as a guest and went into exile to Yuyang. Lack of resources, to sell horses to their own business, to and from yan thistle, all the time they befriend Haojie. More established, so that the emissary Han Hong followed Hebei. Or Hongyue: "Wu Ziyan, Qi Shiye, can be with the planner." "Hong summoned Han, and was very pleased, so he undertook to worship as an order of peace and happiness (belonging to Yuyang County). Will wang lang rise, north state disturbance. Han Su smelled the elder of Guangwu and wanted to return to his heart. It is said that Taishou Pengpet attacked Handan with Yuyang and Shanggu raiding with light. ...... Favors are taken for granted, and officials and subordinates all want to attach themselves to Wang Lang, and the favor cannot be taken away. ...... Han Deception is the Guangwu Shu and moves to Yuyang. ...... The generals of the Han Dynasty and the generals of the Upper Valley marched south together, so that they could behead the general Wang Lang. ...... and Guangwu Yu Guang'a, Bai Han as a partial general, both plucked Handan, and gave the title of Marquis of Jiance. See Book of the Later Han Dynasty
From this, it can be seen that Wu Han was a general of the pavilion chief, a horse dealer, a county commander, and a Marquis of Jiance, but he was not a General Town of Tongguan where Wu Zhuangyuan was born. His possession of Guangwu was actually due to the fact that "he who has heard of the Elder Guangwu and wants to return to his heart alone", but he is definitely not following the holy will of the "Mang Lord" to capture the "demon Liu Xiu", and later gave his mother a statement before he changed it. Wu Han's wife did die very early, and the Dongguan Han Ji said that her "lady died first, buried in a small grave, and did not serve as an ancestral hall." It reminds people of what Wang Lanying said: "After I die, please bury my body outside the West Gate, above Gaogang, a stele will be erected to write the tomb of Wu Han's former wife Wang Lanying." But the "Han Ben Biography" Yun: "Han tasted the expedition, and his wife bought a field industry later." Han Also, Rang Zhi knew: "The military division is outside, and there are not enough officials, so why buy more fields and houses?" So he divided his family with Kundi. It can be seen that his wife is not Wang Lanying, who is virtuous and quiet and knows great righteousness, but a worldly woman who is happy to accumulate some property for a family.
The most non-historical part of the Chokra is the very strong Buddhist color. Listen to Wang Lanying's singing: "Amitabha! It is a pity that time is like a shuttle, and life is worth a lot in the world. For people to hide from samsara, compassion for people is my Buddha. ”
But we know that the entry of Buddhism into China, according to general records, was a matter of the post-Han Ming Emperor. According to legend, Emperor Ming dreamed of six golden bodies, and Yongping ordered Cai Yan and others to make the Great Moon Clan seek the Dharma. He obtained the Buddhist scriptures in the tenth year of Yongping, carried them on a white horse, accompanied by Shamen Shumoteng and Zhu Qinglan, returned to Luoyang, built the White Horse Temple, and translated forty-two chapters of the scriptures. Emperor Ming was the son of Guangwu, and the Yongping Decade was half a century away from the end of the New Mang, while Buddhism became a general belief centuries later between the Jin and Song dynasties. Wang Lanying's "prayer to the Buddha and reciting the Midas in the sutra hall" is inevitably a little earlier in the history of Chinese cultural development.
When Wu Han uttered "ruthless words", Wang Lanying cried and said: "I hope that the beggar horse will remember the love of husband and wife, go to the front hall to mourn my mother-in-law, spare my death, and cut my hair as a nun from now on, and live this life." But even in the more than 100 years after Buddhism entered China, the Han Chinese were still strictly forbidden to become monks. Shi Huijiao, a senior monk, said: "Wang Du said that Han Minggan's dream had first passed on his way, but he listened to the people of the Western Regions to set up a temple and a capital to worship his gods, and none of his Han people were allowed to become monks, and the Wei Chenghan system also followed the previous path." It can be seen that when Wang Lanying was alive, there would be neither Buddhism that became a common belief, nor would there be a woman who "cut her hair to become a nun."
From the above simple investigation, it can be seen that "Chopping the Scripture Hall" cannot be regarded as a "historical drama". It is an artist's fiction through and through. Fiction is good, because the artwork is different from the historical record. As long as it is interesting, meaningful, and not very contrary to historical facts and cultural stages, such fiction is welcome. But I always want to see a real historical drama.
(Lianhua Pictorial, Vol. 9, No. 5, 1937)