What do we look at in Chinese Divorce

The vision of psychology is not to see who does what, but to see who does not do what!

First, the analysis of the drama and the role

"Chinese Divorce" finally aired to the end, Lin Xiaofeng's monologue on the stage, although wonderful, exceeds the depth of the role itself, more like the actor's self-perception and confession. Imagine a woman who is almost crazy for jealousy and still can't save her marriage in the end, and after her mother's death and knowing the secret of her life, it is possible to decide to let go of the marriage. But in order to produce spiritual sublimation in such a short period of time, Lin Xiaofeng may not be able to do it. I think that even if Dharma is reborn, it is impossible to realize the profound Zen meaning of "quicksand in the hand" in such a short period of time! If according to Lin Xiaofeng's personality, her mother is suddenly no longer her biological mother, it will only make her trust and attachment to family affection more fragile. Jiang Wenli's performance of Lin Xiaofeng's irrational behavior is somewhat excessive, at least compared with the character descriptions in the book. I don't know whether it is caused by the actor's inner unconscious criticism of the role, or because the repression stimulates empathy and is internalized by the role. She portrays an ordinary, sensitive, slightly hysterical woman as somewhat morbid or paranoid. Of course, the characters appear more classic, more charming in the conflict between art and drama. At the performance level, there is a realm in which the characters and actors are integrated into each other, resulting in a strong involuntary artistic creativity. At least I think Jiang Wenli's interpretation of the role made me start to have feelings of love and fear for women, and before, I felt that women were rarely aggressive. Relatively speaking, Song Jianping's actor Chen Daoming's interpretation is more gentle and elegant, thick and thin, so that female audiences want to hate him and can't hate him. Chen Daoming said with emotion in a television interview that he hoped the ending should be like this, and Lin Xiaofeng asked Song Jianping, "Who will take over today?" This is the actor's expectation of the role, and such words convey a hint that two people will reunite with the broken mirror. If there is really Song Jianping in reality, it will definitely be much more desperate in the marriage conflict. With the actor's expectation of the role, Song's eyes have more warmth, nostalgia and rogue. In fact, both people love the role, but they do not agree with the role, so they will invisibly use a critical eye to interpret. Song Jianping seems innocent, but in fact he is the initiator, he is both afraid of what will happen and eager to happen. Under Chen Daoming's superb acting skills, through contradictions, hesitations, silence, repression, rogue venting and other physical expressions have been diluted, so that Song has become an innocent and sympathetic person in front of the public. However, in the last scene, after listening to Lin Xiaofeng's confession, Song Jianping's expression transitioned from that rogue and sad look to relief and relief, he did not reveal his old feelings, but it seems that he is still loyal to the role.

The first impression I had in "Chinese Divorce" was that it was a product of completely male vision, and in plain words, it was something that was very bad for women. A people's teacher who graduated from college has become a shrew-like street figure, stalking, eavesdropping, making unreasonable trouble, committing suicide, destroying utensils, bullying neighbors, falsifying evidence, and doing everything to the extreme. In many passages, Lin Xiaofeng's unexpected appearance, gloomy eyes, unkempt hair, coupled with a gray background and chilling music, will be reminiscent of horror movies. When I knew that screenwriter Wang Haiyu and director Wang Hai were both women, it was hard to imagine what these two women wanted to express together, whether it was anger against men or dissatisfaction with women themselves. Most female audiences see Lin Xiaofeng as useless, and see Song Jianping sympathetically everywhere, which makes me wonder whether the writers and directors are collectively sad and compassionate for the female group in the context of the prevalence of modern money worship. Wang Haiyu is recognized as the first writer of marriage, but the story of "Chinese-style Divorce" is slightly old, and there must be three premises in the heart of such a marriage story: first, women rely on marriage to survive; second, women are born weak in marriage; third, women can only have marital happiness if they are constantly perfecting themselves. From another perspective, we can also see the play as a feminist cry, a kind of anger that is suppressed in male society, and a challenge of the weak to the strong. Aren't you morally sound? Don't you want to dominate everything? I'd rather crush the jade than destroy it. Creating a demonized woman to express women's subversion of the mainstream male world, so that men have a collective unconscious fear of women, if so, then the show is a success. Browsing the online information, Jiang Wenli said that the unkempt face was deliberately so. Many media praise Jiang Wenli's non-makeup and hair combing is a kind of professionalism of the actor, I personally feel that Jiang Wenli's performance implies a kind of anger at the role, from why she wants to modify the script with a knife to threaten Song Jianping's plot, you can understand why she makes the role completely different from herself in the decoration. Of course, all character actors have this kind of skill, and can interpret the role more than the script itself. Jiang Wenli has always been a perfect woman in my heart, and Lin Xiaofeng in the play makes me feel that Jiang Wenli's beautiful appearance also has a very fierce power, a self-independent, not attached to anyone, willing to take responsibility, her tolerance for the role is actually tolerance for the self. Film critics often have a kind of stereotyped language, if the actor plays a positive character, it is said that he integrates the beauty of personality into the role, so that the role is so sublimated. If the actor plays a negative role, only to say that his acting skills are so deep, and he does not talk about how the evil in the actor's heart makes the role become extremely vivid. I would like to say that people who have no evil in their hearts, or who have evil but do not agree with them, cannot play a negative character. So, can we understand that Jiang Wenli also does not like men who are too silent? In order to better understand the script, I found the original work, in fact, the original work can not be called the original work, because it was produced after the TV series hit. Reading the original work, I think Wang Haiyu is more easily understood, her interpretation of the role is not as blunt as the TV series, full of a sad and compassionate mentality, painful but not resentful. Lin Xiaofeng's behavior should be more reasonable, and the inner world should be more exposed, and we can read her inner confession. The description of the book should be freer, at least the reader has room for association, so that the characters have a buffer. Reading this book does not give people a sense of fear, and the rendering and extremeization of the characters in the TV series can only be understood as the commercial elements of film and television. The typicalization of the characters adds a lot of color to the story, which has the charm of dramatic conflict and attracts people's attention. Now is the era of the eyeball economy, and if you express the story like a book, it may be flat. Of course, the director must consider the psychological impact and emotional satisfaction of the audience in an instant, if you do not hate or like it, how can the TV series become popular? Let me regret that Xiao Li and Juanzi in the book have a plot of hugging Song Jianping, it was a moment that shocked the heart, Song's escape is not moral, if it is moral, he should not go to the appointment, if he goes to the appointment, he should not enter the woman's room, if he enters the room, he should prevent the woman from oversteping, if the woman does not pay attention, he should clearly thank the other party and gently explain that he cannot. So why did he run away? It's cowardice! In front of the frank woman, many boys will lose. The TV series uses Liu Dongbei's mouth to say that there are three kinds of betrayals in marriage, the body, the heart and the mind, believing that the betrayal of the heart is worse than the betrayal of the body. In fact, the body and mind are inseparable, even if you sleep with a woman, first you have to generate desire, desire is born of the heart. In bed, you are not satisfied with just the mechanical friction of the organs, you also want the other party to be able to please you emotionally and spiritually, so that you can get a kind of psychic concussion, which is also done by the heart. Speaking of men who are willing to trick women into bed, first of all, they are lustful, or love women, which is also driven by the heart. If men have sexual fantasies and daydreaming is a betrayal of the heart, then there is no man in the world who does not betray. If you don't love your wife is a betrayal of your heart, and if you don't love anymore, you can't talk about betrayal. Love cannot be forced, love is very similar to a kind of Zen, what is spoken is not love, love can only be an inner mood. The experience of loving and being loved is a matter of the person's heart, which is difficult for others to understand and perceive, and it seems vulgar to mark betrayal. If marriage is mutually possessive, marriage becomes the shackles of human freedom. Love can not be imprisoned, as long as it is love, whether it is a cat or a dog, married and unmarried, handsome men and ugly women, the feeling of love is sacred, and human beings can continue to exist because of the love of men and women. Marriage is only a product of social development, and in the future civilization of mankind, monogamy may not be the ultimate goal of human love. People who study marriage never pay attention to whether marriage has love or not, they think that intimacy, security, power sharing, common hobbies, communication and mutual assistance are the basic requirements of marriage. As for love, which may be interpreted by different cultures as different beings, it is difficult to standardize. We cannot disparage love outside of marriage, arguing that love in marriage is legitimate, and that love lasts longer than marriage. One can love someone who has passed away, or one who has met by chance. Of course, to put it another way, love in marriage is an advanced form of human love, but not all, and there is much more to human love. In fact, even now, people outside the siege can experience the creativity of love in life.