Liang Xiaosheng's novels have a large degree of autobiographical composition, in fact, this is also the creative characteristics of the vast majority of writers, and even some literary researchers arbitrarily believe that the writer's experience before the age of twenty will determine the direction of his life's writing. Compared with Mo Yan's experience, he can generally prove the truth of this point.
In "The World of Man", the Zhou family is the focus object, as the head of the family, Zhou Father, is a core character in the play, the Zhou family's sorrows and joys, children's love, are all contained in the Zhou Father's bloodline as the starting point of this genealogy.
The family setting of the Zhou family in "The World of Man" can be seen that it is very obvious to transfer Liang Xiaosheng's family relationship.
The special living conditions of the children of the Zhou family in "The World of Man" cannot but be said to be related to the work situation of Zhou Father.
If Father Zhou had not gone far away to the Great Northwest to participate in the construction of the "Great Third Line", then the life choices of his children might have been different.
Because obviously, if Zhou's father stayed in the city, the degree of discipline of his three children would definitely be significantly strengthened, then there would be no choice for his daughter Zhou Rong to make up her own mind, go to Guizhou alone, and find her crush.
And the life path of his son Bingkun will also have another direction.
Therefore, father Zhou's position in the play is very important, and his personality determines the fate of the characters in the novel.
In fact, the image design of Zhou's father is quite underpinning, and the source of this image comes from Liang Xiaosheng's father himself.
Liang Xiaosheng's father's surname is Liang Mingbingkui, and it is interesting that the second word in the name of the three children of the Zhou family in "The World of Man", "Bing", comes directly from his father's name.
In 1956, Liang's father went to Sichuan with the construction team of his city to participate in the "construction of the third line".
Liang Xiaosheng and his father
The construction site was deep in the mountains, and to return to your hometown, you had to take a truck, first to Leshan, then to Chengdu by bus from here, where you would take a train, beijing, and then transfer to Harbin.
From the construction site to back home, the delay on the road can take several days.
This is also the cruel fact that in the TV series "The World", his mother fainted from a stroke in the early spring of 1976, and Zhou's father remained in the dark until the second half of 1978, when he returned home, he saw his wife lying in bed.
From the play, it can be seen that Zhou's father has not returned home for at least two years, and in fact, liang Xiaosheng's father in reality has only returned home once in three or five years.
This special family relationship situation is an important factor in the ups and downs and ups and downs of the story in "The World of Man".
Some of the work units involved in "The World of Man" are imprinted with traces of Liang Xiaosheng's own personal experience.
In a sense, the protagonist of "The World of Man" is the old third Bingkun in the family.
This is also an overlooked community in Liang Xiaosheng's previous novels.
Previously, Liang Xiaosheng's novels have always aimed at the generation of Zhiqing, such as "Snow City", "Year Ring", "Zhiqing" all focus on the life of Zhiqing, and in "The World of Man", Liang Xiaosheng focuses on the young people who stay in the city, and puts Bingkun's life course on the central stage to show.
Judging from the character arrangement in the play, the experience of Zhou's parents and sons Bingyi has transferred Liang Xiaosheng's own personal experience, which is basically a common feature of the Zhiqing generation.
In the play, Bingyi is also facing the opportunity to recommend to go to university, which corresponds to Liang Xiaosheng's experience in the construction corps being recommended to Fudan University, but in the TV series, in order to highlight Bingyi's high wind and bright festival, Gang Zheng is not angry, saying that he offended the leader who controls the recommendation power, resulting in the good thing of recommending college, which was yellowed.
However, Liang Xiaosheng was still merciful to his subordinates, and arranged for Bingyi to be admitted to Peking University after the end of the Cultural Revolution, relying on his own ability.
Zhou Jia's old third Bingkun, initially working in a wood processing plant, was later transferred to the soy sauce factory, and both factories have a close relationship with Liang Xiaosheng.
When Liang Xiaosheng joined the Heilongjiang Production and Construction Corps, he used to work in a wood processing plant, so this experience also appeared in Liang Xiaosheng's novels many times.
In the novel "Syracuse", after Yao Shouyi returned to the city, he entered the wood processing plant as a worker, and because of his excellent work, he first became the director of the workshop and then the director of the processing plant.
Liang Xiaosheng's younger brother works in a soy sauce factory, so it seems that Bingkun in "The World of Man" is basically modeled on the life experience of Liang Xiaosheng's younger brother.
This has a similar creative texture to Lu Yao's "Ordinary World". The protagonist in Lu Yao's novel is based on his brother.
On the whole, the character archetype of "Human World" is basically Liang Xiaosheng's transformation of flowers and trees according to his parents and sibling structure, and on this basis, after refining, the typical setting of the characters in "Human World" has been formed.
These processing and refining parts, "The World of Man" out of the need to portray the characters, and adjusted and rewritten the real experience and facts.
A very obvious fact is that in order to reflect Zheng Juan's "Liu Huifang"-style good nature, "The World of Man" advanced the time of Zhou Mu's illness to 1976.
In fact, Liang Xiaosheng's mother died in 1997.
In "The World of Man", if there is no sudden coma of Zhou Mu, then the gap between Bingkun and Zheng Juan's huge challenge to worldly prejudices cannot be bridged.
Liang Xiaosheng also did not have a better way to promote his good ideas in the novel to join Zheng Juan's body, so the author took a clumsy approach, had to let Zhou Mu suddenly have a stroke and fainted, and gave Zheng Juan a stone test paper to test the quality of Zheng Juan's conscience.
In fact, this is a big cliché. And Liang Xiaosheng's pen has never been merciless, and he has ruthlessly sacrificed the characters he created in almost every one of his novels, making them fall victim to death.
In fact, the illness of Zhou Mu in "The World of Man" is just a failure.
Judging from the performance in the play, after Zhou Mu fell ill, she used a mysterious miracle to describe the pathological phenomenon of brain stroke.
In the play, the comatose Zhou Mother, after lying unconscious in bed for two years, was able to wake up dreamily, which was completely a fantasy.
Needless to say, two years, even if the brain is injured for a few minutes, it will be irresistible to recover.
This passage in "The World of Man" clearly deviates from the cruel physiological iron law of realism, using a false plot to create a miracle of love, although it coincides with Liang Xiaosheng's creative ideal of striving to write a "good story", but it may produce a misleading whitewash of "the energy of love".
The setting of Zhou Father in "In the World" not only stops at transferring the work elements of Liang Xiaosheng's father, but also zhou Father's grumpy temper, harsh treatment of his children and the real reason behind this forced livelihood are basically in line with Liang Xiaosheng's father's personality.
When he was young, Liang Xiaosheng's father's temper had brought great harm to his children, but with the passage of time, the children forgave the inhumane affection that the previous generation had to show because of the pressure of life.
In his father's later years, Liang Xiaosheng specially brought him to Beijing to live.
At that time, Liang Xiaosheng lived in the Beiying Family Area, and his father was pulled in by the film crew as a "passerby" because of this opportunity.
As a passerby, his first film to participate in the performance was "The Legend of clay people". At this time, he was 74 years old.
The background in "The Legend of clay people" is a group performance, and Father Liang is not among them
Liang Xiaosheng's father spent time in Beijing, between 1984 and 1986, he played the background wall role of the "atmosphere group" in five or six film and television dramas.
This kind of role, that is, in the camera, walks over, runs over, nameless, nameless, no line, has no connection with the plot at all, except for the relatives of these characters, no one will care about their existence.
Group performances in "The Legend of clay people"
Including Liang Xiaosheng himself, I don't know in which several film and television works his father has played the role of "running dragon set".
The three works he can list are "The Legend of the Clay Man", "Four Generations Together", and "White Dragon Sword".
According to the prompt, the author found the suspected participation scene of Liang Xiaosheng's father in "White Dragon Sword".
Why is it suspected?
Because the image of the film currently found on the Internet is too blurry to be accurately confirmed.
At that time, Liang Xiaosheng's father had a very beautiful long beard, long and chest, which was suitable for playing the character image of crane hair and childlike face in film and television dramas, which also provided an entrance for us to identify the image of Liang Father.
Liang Xiaosheng's father, who flashed by in the camera, was just a passer-by and an insignificant presence in the lens of the film and television director.
However, Liang Xiaosheng enriched the image of his father, and his father's experience and disposition, through his refining and processing, reappeared in "The World of Man" and became a pivotal key figure in the play.
That's what creation really means.
In other film and television works, the father who exists in the "running dragon set" method has become a core light-chasing figure under Liang Xiaosheng's pen.
This shows that the world is not without legends, but lacks the eyes to discover legends.
Liang Xiaosheng's father's small existence in the lens of others, a ephemeral life that was kicked over, became the main backbone in "The World of Man", and became the most important value center in life, which is Liang Xiaosheng's greatest return to his family, and it is also a discovery and refinement of life with his unique insight.