"The World of Man" weakens the sensitive topics of the original work, strengthens the theme of family affection, and brings tear-inducing effects

author：Literary secrets 2022-02-10 22:08:00

In his novel "The World of Man", Liang Xiaosheng has already weakened the sensitive themes of the times to the best of his ability.

After changing it to a TV series, Liang Xiaosheng's already minimally sensitive topics in the novel were deleted twice, and now it seems that the strategy of the TV drama version of "Human World" is quite successful.

In the novel "The World of Man", Liang Xiaosheng perfectly achieved the perfect unity of the theme of the times and the reality of reality.

For example, in the novel "In the World of Man", the reason for Bingkun's arrest, and more importantly, one of the more important factors is the copying of mourning week poems.

But in the TV series, this detail was deleted. Feng Huacheng recited mourning poems at the train station, causing a group uproar, limited to the dimension of fighting and fighting, and blurring the matter of What Feng Huacheng did later when he entered Beijing.

In his novels, Liang Xiaosheng completely faithfully reflects the big themes of the times, such as the people's hatred of the "Gang of Four" and the great changes brought about by reform and opening up to China, which is the big theme, and the principle that Liang Xiaosheng pursues in the novel is that the juche thought is very consistent with this established theme.

However, under this theme, Liang Xiaosheng uses personal sorrow and joy to reflect the spiritual fluctuations and life rhythms of the tides of the infected era of individual life in the context of the times.

For this fluctuation and rhythm, Liang Xiaosheng can be said to be in full swing, maintaining a strong sharpness and motivation.

Even the Zhiqing section that unfolded in a "scar literature way" in his previous novels is much more gentle in "The World of Man". In "The World of Man", there is no theme that he has publicized in the past theme of Zhiqing: trampling on life, distorting human nature, hesitating about faith, all this is gone, in "The World of Man", the Zhiqing link is basically in line with the overall social mood at that time, there is no exaggeration of the heavy part, this part of the novel, it seems, is still like the real situation at that time.

Over the years, Liang Xiaosheng has skillfully responded to the conclusion of the times on the big theme with his wise writing style, and in the details, he has arbitrarily displayed the reality and current situation that he urgently wants to say, thus forming Liang Xiaosheng's writing style of not avoiding the authenticity of reality and at the same time not violating the theme of the times.

Not the majority of writers can be so perfect in these two dimensions. And Liang Xiaosheng did it quite successfully.

In "The World of Man", Liang Xiaosheng leveled the huge impact of the theme of the era on individual life, and in all the links, he saw a harmonious phenomenon of good people. In the Zhiqing section, we see that the leaders of the corps are very upright, in the factory link, Secretary Qu brings a touching passage of enthusiastically helping the workers, Liang Xiaosheng maintains a narrative style of "mourning without hurting, resentment and not anger" in "The World of Man", in which the dialogue of young workers shows peace, and even adopts a transcendental deformation method to present, that is, the character dialogue has a very obvious surreal game cavity, it seems that the character dialogue is speechless. It is imbued with a convergent and subtle dialogue style in an unreal situation. Through this game style of character dialogue, a kind of alienation effect of the text is achieved.

That is to say, Liang Xiaosheng's background orientation in "The World of Man" is real, but the characters interpreted in the foreground are alienated from reality, thus forming an internal opposition between the two levels, and the tension of literature is thus tightened.

Therefore, the dialogue of the characters in "The World of Man" carries the characteristics of Liang Xiaosheng's consistent written language.

However, in the TV drama version of "The World of Man", Liang Xiaosheng's intentional writing style has been rewritten in a life-like way, and it is this rewriting that has the vivid, figurative and grounded style in the TV series.

We can take a clip of the drama that Zhou Father accepted to Zheng Juan to see, in fact, the TV series's adaptation of the original novel is still quite large, and even the timeline, character line, and conflict line have a huge gap between the north and the south.

When the TV series is adapted, the conflict of characters and the process of thought transformation are added, and the function of shaping the mind is emphasized.

In fact, Liang Xiaosheng in the novel, the inner world of the characters, is to a certain extent blunt, secular, and ordinary, but the TV series must be vivid characters, give the characters a real psychological response, the novel does not need to show the emotional changes when the characters' eyes are opposite, and the film and television works are immediacian character interaction relationships, it is impossible to avoid this subtle inner and emotional changes when faced for the first time.

For example, in the original novel, there is no explanation of the process of Zhou's father returning from the four eyes of his mother with amnesia.

However, in the TV series, this period of the meeting of the old husband and wife has been rendered and strengthened with all efforts. At this time, the silent and sound shot, through the powerful editing of the knife and axe, outlines the moment when the true emotion is surging forward.

In the novel, Liang Xiaosheng has no intention of sensationalizing about the meeting of his parents, and the unique conditions for the appearance of the characters in the film and television works make the TV series naturally not give up the excellent opportunity of this unique performance of the character's spiritual impact.

It is worth noting that Zhou Father's acceptance of Zheng Juan, the TV drama version shows the slightest bit, horizontal to the edge, vertical to the end, far more than the flat narrative in the novel, more ups and downs, touching deeply.

In Liang Xiaosheng's original work, it is simply stated that in 1982, Zhou's father retired and returned home, at this time, Zhou's mother had awakened, and Zhou's father also had his first meeting with Zheng Juan.

In the TV series, however, the time when Zhou Father returned home to visit was added, and this time point was in 1978.

At this time, Zhou's father saw Zhou's mother's condition, and it was Zhou's mother still lying on the bed without moving.

The original work does not show the detailed process of Zhou Father's return, but the TV series is a careful performance of Every Mental Journey of Zhou Father's return home.

We can roughly see the delicate level of the TV series showing every character level that Zhou Father returned in 1978.

1. When Father Zhou returned home, he first saw the two children in the family.

Zhou Father came to the house, Yue Yue and Nan Nan, who were playing in the yard, first broke into his eyes, the child was a landscape in the camera, and in the novel they were ignored, in Liang Xiaosheng's original work, there was no description of this sense of scene at all.

2. Father Zhou saw Zheng Juan pouring sewage back at the Zhou family.

In the novel, there is no description of Zhou's father seeing Zheng Juan.

The TV series follows a conversation between Father Zhou and Zheng Juan in the courtyard. Father Zhou asked Zheng Juan to show her palms, and in the close-up shots of the play, Zheng Juan showed her hands that had been weathered and covered with frost and calluses.

In the novel, it was Father Zhou who went to Zheng Juan's house and saw Zheng Juan's pair of hands that had been honed over the years.

Father Zhou asked Zheng Juan to go home, and then brewed his anger and prepared to vent it on Bingkun' body.

3. Bingkun returns to see his father, and the house is in chaos.

As soon as Father Zhou saw his son's face, he angrily rebuked Bingkun: "Why did you come back?" Didn't you break up with your family? Then let the son get out of the way, "Go to her house, this is not your house." ”

Bingkun was angry and threw up his sleeves and ran away.

4. The granddaughter and Zheng Juan's son are missing.

This is an important episode in the TV series that transforms the anger of Zhou Father. There is no such plot reversal in the novel.

When Bingkun was preparing to run away from home, he found that Yue Yue was missing.

This shows that Father Zhou did not take the responsibility of taking good care of the child.

In the following paragraphs, Yue Yue and Nan Nan meet, and the two children's evaluation of Zhou's father is: "I don't like Grandpa" and "He is a bad person".

Fairy tales are unbridled. Father Zhou's evaluation was enough to stir up a monstrous wave in his heart and prompt him to reflect on himself.

5. Father Zhou changes his views.

After the above two conflict points - that is, taking care of the elderly and taking care of children, Zhou's father understood Zheng Juan's efforts.

Father Zhou directly taught his son: "You are so ambitious, why don't you marry someone else?" ”

The father's foothold was: "You don't know Your Father too well." ”

Since then, whether Zheng Juan can be accepted by the Zhou family, the peak turns around, and the willow is dark and bright.

In the original novel, only the abrupt Father Zhou comes to Zheng Juan's house to express his acceptance of her. In the TV series, the process of the father accepting Zheng Juan has gone through a series of twists and turns, and the two elements of the elderly and the child have assisted the transformation of the father's thinking, in contrast, the TV series in this process, full of family affection, human touch, transformation of nature, gentle excess, the inner impact and conflict of each character are vividly displayed.

It can be said that on the basis of the general story line of Liang Xiaosheng's original work, the TV series fully uses the various personalities and characterizations of the characters in the play, and plays the butterfly effect that each character inevitably condenses to give the family as a whole, thus deducing a reasonable and fully developed emotional transformation drama.

Both the novel and the TV series soon after this paragraph, there is a scene of Bing kun and Zheng Juan getting married. In fact, a closer debate, it can still be found that the TV series screenwriters have quietly and seamlessly made a visual and image re-creation of the original novel, adding oil and vinegar.

The result of this second-degree creation, that is, the family affection in "The World of Man", has been further strengthened, and the tear-jerking points have also come and can be seen everywhere.