"Why is Huaxia one?" "Since ancient times, it has been one."
"More than 2,000 years later, are you still reading The Book?" "Read."
Through the dialogue of time and space of thousands of years, the audience was in tears, netizens spontaneously discussed, young people incarnated as "tap water" for their promotion, and middle school Chinese teachers recommended the first lesson of the school year. In the New Year of the Ox, the Central Radio and Television Station launched a large-scale cultural program "China in the Classics", which was only updated for one issue, and its influence was considerable enough. On Weibo, related topics have been read more than 320 million times; on the Douyin platform, the main film clip has been played more than 110 million times.
Why did ancient books, often described as "crooked and obscure", make a huge splash on the young Internet, and why did they gradually become a learning trend offline? In the view of scholars, the content of the program not only realizes the multi-time and spatial narration around the classics, so that the audience can feel the uninterrupted inheritance of strings and songs; there are also contemporary value expressions, which make people more convinced of the cultural genes of the Chinese nation that are deeply rooted in the bloodline. In terms of communication, the program has the process of "turning zero into whole", that is, through multiple scenes and multiple stages to describe a classic, so that thousands of years of Chinese civilization have amazed the stage; it also provides multiple incisions for secondary communication to "turn into zero", so that China's excellent traditional culture can be passed on by word of mouth by a wider range of people at present, and truly realize "creative transformation and innovative development".
As young audiences burst into tears for the vitality and strength of "the sky cannot die, the earth cannot be buried" in the inheritance of Chinese culture, the spiritual connotations and cultural values contained in the classics have been uniquely observed outside the scope of study and academic research. With the vitality of history, the appeal of culture and the productivity of new technologies complement each other, adhering to the original intention of protecting the growth and flow of Chinese civilization, "China in the Classics" is setting a new benchmark for cultural programs.
Provide a broad and profound platform for understanding Chinese civilization, and also take into account the contemporary values in the classics
As the name suggests, "China in the Classics" relies on the classics to tell Chinese stories, focusing on the "Shang Shu", "Analects", "Sun Tzu's Art of War", "Chu Ci", "Shi Ji" and other well-known classics at home and abroad, which have been passed down through the ages, showing the Chinese wisdom, Chinese spirit and Chinese values contained in them. "But the ancestors of Yin, there are books and scriptures." The vast sea of Chinese classics is an important carrier of the inheritance of Chinese civilization and a historical witness of the Chinese context that has lasted for thousands of years. Which texts are selected for the program, and how are they presented? Carefully dismantling the 90-minute content around the "Book of Shang", the meaning of the title of the program creation gradually became clear.
In the opening chapter, Sabine enters the drama scene as a contemporary reader, opening "China in the classics" in the "real space" and talking with the ancients in the "historical space". His perspective is also the audience's first perspective, following it, a time and space tunnel opens, and people plunge into multiple worlds inside and outside the classics: in 1900, the Tibetan scriptures of the Mogao Grottoes broke through the wall; in 1910, The Qing scholars were thrilled to find the classical book "Book of Shang" in some dunhuang scriptures; at the end of the Spring and Autumn Period, Confucius was informing his disciples of the importance of reading the "Book of Shang"; and entering the Han Dynasty, the present people and the Fusheng who had guarded the "Book of Shang" all his life "dialogue"...
Through innovative theatrical interpretation, the charm, meaning and inheritance of "Shang Shu" have been intuitively presented in audiovisual form. As mentioned in the expert interview session, the word "China" first appeared in the Book of Shang. As stated in the "Space of Reality", the Book of Shang is known as "the ancestor of political books and the source of history books", which has built a knowledge system of ancient civilizations, and thus became one of the earliest Chinese classics translated into the West. Another example is what is pointed out in the intersection of "historical space" and "real space", reading the "Book" and knowing the basis of the rule of the sages, the reason for the rise and fall of dynasties, and the need for personal self-cultivation.
Kang Zhen, professor and doctoral supervisor of the College of Literature of Beijing Normal University, pointed out the greater idea of the program, "China in the Classics" not only provides a platform for understanding the profound and profound Chinese civilization, but also takes care of the contemporary values in the classics.
Take, for example, a few dramatic interpretations. When the perspective falls on the "Book of Shang", the passages such as Dayu Zhishui and Wu Wang's Cutting of The Silk all uphold the heart of "serving the people". Reading history, we can see that the idea of "taking the people as the center" has been passed down from generation to generation by the Chinese nation since the "Book of Shang" that "the people are the foundation of the state, and the people are the foundation of the state, and the people of the country are solid and the state is ning." The allusion of "Dayu Ding Jiuzhou" has made countless young people sigh: "'Dunmu Nine Tribes, Concord Wanbang' is China", "Huaxia has been one since ancient times". And when the perspective falls outside the "Book of Shang", the needle leads of contemporary readers, the interpretation of experts, and the actors' true interpretation of several scenes such as Confucius's lectures, Fusheng Chuanjing, Dayu Zhishui, Makino Meng oath, etc., all outline the true meaning of Chinese civilization in the protection of generations from different aspects, and complete the contemporary expression of the program.
Classics are not only lived on tv screens, but also transmitted on the Internet without edges
Turning ancient books into works that the audience can perceive, empathize with, and believe, what is obvious is the upgrade of the creative hardware. Relying on new scientific and technological means such as ring screen projection, AR, and real-time tracking, the TV screen has become a "historical scene" and a "story telling field", turning the difficult ancient books into a warm imagination and a sincere scene. Not visible to the audience, but more critical core content, relying on detailed historical support. In the first program of "Shang Shu" alone, the director team consulted 65 experts, inquired about 68 related books and thousands of papers, sorted out millions of words of information, and went through 53 versions of the drama script before and after.
For today's communication field, if innovation and ingenuity are the starting point for "China in the Classics" to be recognized and recognized by the audience, then the expression that can connect ancient and modern emotions is the winner and loser who helps the program out of the circle.
In the show, Fu Sheng told Chao Chao about himself and his family to protect the book, and many people in front of the screen cried. According to historical records, in 215 BC, Qin Shi Huang ordered that the private collection of scriptures was strictly prohibited, and the Confucian doctor Fu Sheng risked his life to transfer the Book from Xianyang to his hometown in Shandong, hiding in the wall, along the way, his son died of military robbery to protect the Book, and his wife died of illness to protect the Book. Taking family affection as the link point, the audience in front of the screen instantly communicated with the historical old man Fusheng. The feelings between the ancient and the present are connected, and the audience can better appreciate that the "inheritance" of Chinese civilization seems to be a grand proposition, but it is indeed a determination of one after another, and the footsteps of one family after another have reached thousands of miles. Audio-visual content plucks the strings of the audience's heart, and people take the initiative to share and take the initiative to inject communication energy into traditional culture.
There is a heart-warming conversation at the end of the show. Ni Dahong's ninety-year-old Fusheng asked: "What does mobile phone download mean?" He got the answer: "We now upload all the books in that car of books to the cloud, and everyone can read books anytime and anywhere with this 'little mirror'." Fu Shenghui: "But the ancestors of Yin, there are books and codes." The classics are readable by everyone, good. ”
The old man left a message, "I am relieved that the Book has your inheritance." The tunnel through time and space is closed, and today's audience is full of emotions. The young people posted their handwritten viewing notes on Weibo, and added: "The ancients guarded with their lives, and Chinese civilization has never been interrupted for thousands of years, and my generation should cherish it even more." It is no wonder that classics are not only living on tv screens, but also being transmitted on the Internet without edges.
Author: Wang Yan
Editor: Shi Wei