After reading the story of "Love in the Fallen City", it often makes people wonder how much love there is in the final union of The daughter of the widowed family, Bai Liusu, and a returned prodigal son, Fan Liuyuan. Once, because I didn't go to the scene to watch the rehearsal, Song Yang, who played Fan Liuyuan, was asked on my mobile phone: "How did you and Wan Qian get together?" "Rest assured." He said. But I mentioned the character again: "There is an occasional soul in a slippery shell, and Fan Liuyuan's most advanced place is that people can't see through, he has a layer of ambiguity, fog-like charm." He said: "The difficulty lies in making the audience unable to see through, and making the audience see through." "It's about falling in love with the audience, people in love are always a bit unpredictable, and the component of sexual charm I think is also here." 」
In short, my understanding of love is also like this, sometimes one moment of the two is eternal, and the next moment may feel that the water is far away. People really can't think about things, which minute is love, and which minute is just a dilemma of dependence? Life is already very realistic, it is better not to think so clearly. Director Ye Jintian made this play, and he felt that what attracted him most was the uncertainty in Zhang Ailing's novel. Zhang Ailing herself said that her novels always have a sense of "like a bandit's clothes", "that kind of messy and unclean, stuffed sadness", and my understanding is of course that she is talking about the complex chaos of life that cannot be fully clear.
I am grateful that I have the opportunity to adapt Zhang Ailing's novel. In 1944, Zhang Ailing herself adapted "Love in the Fallen City" into a drama, but that script has long ceased to exist. When writing this script of "Love in the City", in order to pay tribute to Zhang Ailing, I also wrote it into four acts and eight scenes according to the visible historical materials, maintaining the unity with the old version, although I added the prologue and epilogue. I also deliberately tried not to write the language too densely, but hoped to create an old-time atmosphere in the interval between words, and watching Zhang Ailing was different from looking at Lao She and Cao Yu, but this was a challenge for the director, the actors and the audience. But "breath" is the basis of Zhang Ailing, not to grasp it, to grasp it too tightly and die - like a ghost.
As for the use of images, it was also determined before writing the script, because the subtleties of the characters could not be fully conveyed by the stage alone. This idea and Ye Dao said it, and it was also in agreement, not to mention that it was the part that Ye Dao was good at and not known to many people, who only knew that he was a master of vision and clothing, and did not know that his images also had another function.
There are too many colorful sentences in Zhang Ailing's article, and I have not kept them all in the drama, the novel and the script are two different things, and some beautiful dramas can continue while reading the novel.
The script has actually been written for two years, because the epidemic has dragged on to today, and it has dragged through the hundredth anniversary of Zhang Ailing's birth to meet with you. However, after the epidemic, we can see that we are also considered "love in the city", and we have cut the topic backwards. It is also the words at the end of the novel: "There are legends everywhere, but there is not necessarily such a happy ending." Hu Qin was dumb and dumb, and in the night of ten thousand lights, he pulled over and pulled over, telling endless desolate stories - don't ask! ”
I hope everyone is okay.
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