Hello everyone, welcome to the third season of the National Drama 60 Lecture, I am the main speaker Li Xingwen. In today's issue, we talk about the costume drama "Daming Style" broadcast at the end of 2019. The drama is directed by Zhang Ting and starring Tang Wei, Zhu Yawen, Deng Jiajia, Qiao Zhenyu, Wu Yue, Liang Guanhua, Zhang Yixing and so on.
"Daming Fenghua" obviously has an IP of "Chronicle of the Six Dynasties" as its support, but it is rewritten and almost original. From the plot, you can't see the usual cornices of online novels, nor can you see the perfect love under the common filter of online texts.
It is not a big male drama, nor is it a big female protagonist, and it cannot be determined by these labeled titles. But it's a very interesting TV series. Construct new legends in the darkfield of history, probe the temperature of human nature in the cracks of history, and capture the charm on the faces of historical figures.
All the theatrical tasks revolve around the five sons of the Zhu family and the second daughter of the Jing family. The tendency to family affairs is obvious. Both main lines are, strictly speaking, family affairs.
One is the contradiction between the Yongle Emperor and the Jianwen Emperor. Zhu Yuanzhang laid the foundation of the Ming Dynasty and passed the throne to his grandson Zhu Yunjiao, who was for Emperor Jianwen. Zhu Di, the King of Yan, refused to submit, raised troops from Beijing to Nanjing, and seized the throne for the Yongle Emperor. This was originally a nest fight between uncle and nephew.
One is the contradiction between the crown prince Zhu Gaoxu and the Han king Zhu Gaoxu and the Zhao king Zhu Gaoxuan. Zhu Di started a rebellion, and he was most afraid that his sons would start another sword, so the beatings and rectifications in ordinary days were particularly tough. However, the Heavenly Family is ruthless, the struggle for the throne is eternal, and the competition between the old emperor and the brothers is not endless.
This version of Zhu Di is a tangled old man. History only writes about Zhu Di's rebellion, but it does not write that he regretted it because of the rebellion. "Daming Style" follows the ruts of human nature and constructs Zhu Di's state of mind in his later years.
When he was young, Zhu Di, who was a man of great talent, was not willing to be subordinated, and rebellion was almost an inevitable choice. In his old age, the theory that "history is like iron" became his greatest concern.
Rebellion is an "original sin" and cannot be changed. But in what way it has survived in the annals of history, this is arguable. Jin can cut off Emperor Jianwen and his supporters, so that there is no material basis for overturning the case. He could reconcile with Emperor Jianwen and then submit an excellent Wenzhi martial arts answer sheet, and the merits and demerits were left to comment on with future generations.
Zhu Di in the play once wanted to extinguish the other party, but he finally realized that he could not be a hundred, or chose to be precious. When dealing with his sons' offside behavior, he also chose the parents' approach. The King of Han intended to launch a mutiny, and he expected the enemy to take the lead, and the big things became small and the small things became small. Taisun hooked up with the "Orphan of Jing Dynasty", and he also turned a blind eye.
Originally, the House of Heavenly Sons was first a monarch and then a father and son. However, in "Daming Style", the emperor, the prince, and the emperor's grandson are so "grandfather", "second uncle" and "big brother" shouting. The title is affectionate and homely, and the fight to the last bed is obscured by all disputes.
Zhu Di's meanness and ruthlessness and unmitigated space are basically left in the previous history, leaving some in the discussion of children and grandchildren. When he really did things, on the one hand, he took the initiative in everything, and on the other hand, he was not deaf, dumb, and did not do Ajiaweng.
Teacher Wang Xuexi's face was full of security. Especially in the relationship with Zhu Zhanji and Sun Ruowei, what is hidden under Zhu Di's dragon robe is meng and tolerance.
Zhu Gaozi is a brand new screen image. Liang Guanhua took the advantage of body shape to the extreme, and the first few episodes could only rely on "Babbling" to shape the character. This is a guy with a face and a bright heart. This is a kind-hearted, hard-working prince. This is a tall man who has realized that "the teeth are hard and fall off first, and the tongue is soft for a long time".
I don't know how similar this version of Zhu Gaozi is to a historical figure, but I do like this character very much, especially when he said these words to his father: "Father, you have been willful all your life, and now you are using your grandson's head as collateral." If you continue to be so willful, your son will create your opposite! ”
In fact, character shaping is like this, and the normal description is a texture. And at the critical moment, there must be a variation: let the provocative people out of the corners, let the ambitious lose their enterprising spirit.
It was the prince who suddenly gave birth to the edges and angles, and it was Zhu Gaoxu, the king of Han, who suddenly lost his enterprising spirit. The King of Han has always been an ambitious man, with great military achievements, holding military power, looking down on the prince, and not being the king of the clan. He only bowed his head in front of the old master in order to take over the throne from Zhu Di.
However, when he noticed that the emperor had toyed with him on the palm of his hand and severely reprimanded him, he had no intention of succeeding to the throne, and he lost his courtesy and scruples. He confronted Zhu Di in person, returned to his hometown and performed the absurd drama of "the living person coming out of the funeral".
The story has come to this point, and it is already a comedy. There is no comedy in the confrontation between kings and subjects, and only fathers and sons can play such a game. The unfortunate Xie Jin became a "provocateur", and the peace with the surname Zhu was as good as ever, and he was frozen to death in the snow of the prison.
The executor was Zhu Gaoxuan, the King of Zhao. This is a two-five boy with a red top and a white roof, who can regurgitate the water at any time. He always said that he was a party of the King of Han, but he reported the secret of the King of Han to Zhu Di and prepared to pick up the leak. This mediocre man was unfortunately born in the imperial family, and he lived himself into a wall grass and a sinister villain.
The strength of the male protagonist Zhu Zhanji lies in the fact that he has a true heart. A strand of his affection was tied to Sun Ruowei's body, and his enthusiasm gushed out for the orphans of Jingnan, and he risked his life to shout out: Emperor Jianwen's loyal subjects are also loyal subjects!
This drama has a scheming political trick, but also a human brilliance to defend justice. This brilliance flashed on Zhu Zhanji's body, and on the heroine Sun Ruowei, it was a regular equipment.
In order to save her fellow Nie Xing, she dared to go in and out of the devil's prison. In order to save Emperor Jianwen, she dared to drink Zhu Di's heart demon against the dragon scales. In order to save the 30,000 descendants of nuer Gandusi, she first blocked the crossbow arrows fired by the assassins at Zhu Di, and then entered the palace to provoke lifelong hard labor for the concubine.
In her body, the creator also projects the character of modern people. Just like Fan Xian saw that Emperor Qing did not kneel, Sun Ruowei and the old emperor and the little grandson got along, and they were all equal friends.
Sun Ruowei and Hu Shanxiang were both daughters of Jing Qing, the former imperial chancellor. Ruo Wei is "the husband is not in dispute, so the world cannot fight with it." Shanxiang is "the fire in the heart, no one can extinguish it." She is a common female version of "Yu Lian" in online novels, and gui becomes a villain as an empress.
Zhang Ting, the screenwriter and director of "Daming Fenghua", Zhang Li, the artistic director, and Yao Yuzhu, the chief producer, all have rich experience in the creation of historical dramas. However, the creation of historical themes entered a difficult time.
If you take the whimsical and legendary route, you must prevent a hat of "historical nihilism" from falling from the sky. If you take the traditional route of "big things are not vain, small things are not informal", bao bu qi or someone takes a dogmatic ruler, than the details, measure the in and out, pick faults, and shoot the cannon.
Regarding the flaws in the historical details of "Daming Fenghua", Zhang Ting responded, "The time of creation of this play is very cramped, after the ban on the big heroine and the palace fight drama came down, he temporarily abandoned all the previous scripts and rewrote more than fifty episodes, all relying on a little memory of the university period, and did not have time to ask a historical consultant, so there was a small error in the historical details, and I would take it as a warning." ”
He wrote on Zhihu, "When I was in college, I took the "History of Ming" and "Jin Ping Mei" intensive reading from Mr. Yao Mang of the Central Academy of Drama, which was my earliest basic understanding of ancient Chinese literature. ”
Zhang Ting used to look at history books as literary works, "Based on what happened in history, to speculate on the motivations of characters, why do you do this?" There must be emotional support, otherwise it does not hold up in drama. ”
"Stick to the emotions of contemporary audiences, pick out the important things in history, complete a combination of drama, and then tell the story to the audience." For me, that's the end of the job. If there is an opportunity, ask the historical consultant to give advice, and the script can be polished to do better; there is no chance to do so, do not pretend. I also don't have greater ambitions to do anything else. "These words are the end.
In "The Style of Daming", Zhang Ting writes about nine important historical scenes: the Battle of Jingnan, Zheng He's voyage to the West, Zhu Di's death in the Northern Expedition to Yumuchuan, Zhu Di's secret funeral, Zhu Gaoxu's leping rebellion, the Battle of Xifengkou, the change of Tumu Fort, the defense of Beijing, and the change of the capture of the gate. Four beams and eight pillars were erected, and the fate of the three generations of emperors was inside.
The first half of the play is a bit like a family drama. The second half introduces more big history, and has important value output: warlike will die, forgetting the war will be dangerous.
"Belligerent will perish". If an emperor is as belligerent as Zhu Di, the national economy really cannot be supported, and the enemy runs clean, And Zhu Di's northern expedition will not achieve its strategic purpose.
"Forgetting the war will be dangerous". If you covet comfort, do not consider the issue of war, do not grasp the war preparedness, this country is in danger. The country was long-lasting, the ministers were proud and complacent, the army was poorly trained, and the Rapid Expansion of the Wallachian tribes posed a substantial threat to Daming.
The first half of "Daming Style" is compact and tense, and the second half is somewhat loose and jumpy. This is related to the haste of the creative cycle, and it is also related to the transmutation of creative ideas and the frequent revision of later periods. The power plot drama and the palace fight drama have been regulated by the policy, and it is not easy to avoid these two minefields and achieve the appearance of a film.
Today's show is here, thank you for watching.
The keynote speaker | Li Xingwen