With the blessing of pleasant spring light, This March, which is intended to listen to female monologues, is gradually revived in the context of the woman power, and it is also possible to see the glittering female power in different professions.
When the day dedicated to women's holidays is named "Goddess Day" or "Queen's Day", it may also represent our different perceptions of women's identity. She can be soft or tough or even fragile...
And these adjectives switch back and forth between a female character in this year's opening hit drama "The World" and "Dress up", which is probably the most real man power that allows us to spy on it.
She is Song Jia, who directly dominated the screen with two masterpieces at the beginning of the year. Although it is said that work brings the determination of social identity, Song Jia can always inject softness and perseverance into it with a hot feeling, ironing hot and personally interpreting what is Women Power.
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How can she, who switches between different identities in the play, be able to interpret her own intellect and fullness so vividly and fascinatingly? Think back to the plot, maybe here's the answer you want.
In the face of Zhou Rong, who has been criticized by countless people, Song Jia always quipped in a joking tone: "Zhou Rong has opened up the trick again?" Come "in one stroke".
As everyone knows, this character, known as "imperfection", has also smoothed out the edges and corners with the impermanence of human sophistication, showing the feminine power exclusive to her.
In the dusty years like a wheel, this grand narrative of the times has gradually unfolded with the conception of these female characters.
There is no deliberately rendered hot and hot, and there is no heart-wrenching ink and heavy color. As the opening drama of the CCTV Spring Festival file, the brushstrokes of "The World of Man" always seem to have some plain and simple and intriguing true feelings and love.
But the reason why it can attract three generations of grandchildren to chase the drama synchronously, and the grand situation of the crowd breaking defenses, is probably that every place in the play is always used to saying the most cruel words in the most gentle tone, with continuous golden sentences and pearls.
Just like at the level of this story full of warmth and fireworks, in the group portrait of about Mo mo with a span of fifty years and more than a hundred famous and surnamed characters, what is hidden is the ups and downs of an ordinary Zhou family in the great changes in China in the past fifty years.
Shooting people, but talking about the details between people, this eloquent pyrotechnics and human touch is also the achievement point where we can empathize fiercely across the ages today.
The study of the audiovisual language in the play also proves this for us: its capture of human fireworks is indeed a five-star level.
In the play, it is not difficult to see that the Zhou family does not want Zhou Rong to go to the countryside, because this is a severe test for them who are in love with each other.
And such a description can also be regarded as the unique Spring and Autumn brushwork of "The World of Man", with a small detail, pointing out the female color in that special era.
This brushstroke is also applied to the details of the book that the Zhou family specially let Zhou Rong keep, and we can glimpse that the three books of "The Brothers of Yershov", "Anna Karenina" and "Three Hundred Poems of Tang Poems" are the codes for interpreting Zhou Rong's image. The reason why Zhou Rong has these books also just proves that she is a female figure with rich emotions and romantic temperament, which also largely shapes Zhou Rong's concept of love.
As an idealist, when he joined the WTO, he did not hesitate to go away in order to pursue love, leaving only a letter to his family that "a good life is more important than a good life." Although this journey of love is not smooth, Zhou Rong has never stopped, she took the children in the mountains to realize the dream of seeing the world, and also realized her academic dream.
I have suffered a lot for the ideal love, but I am also willing to eat it. Even as a synonym for the rebels of that era, as an independent new woman in the face of social shackles released by the female awakening, with the mentality of "out of the world" "into the world" is more attractive.
Indeed, life is a lifetime, grass and trees are autumn, and chicken feathers are daily. Just like Song Jia's own closing sentiment: this role is not perfect, but there is a female beauty that belongs to her, song Jia also does not regret playing this imperfection, no matter what the fate, she pays for the result. Therefore, as long as it is a role that has been carved by Song Jia, it is always full and vivid, just like the strength of the northeast girl she has expressed on many occasions, this kind of strength is more like the infatuation and truth of putting herself into the play.
Everyone has their own destiny, whether it is a life drama or a reality drama, if you want to perform a sense of destiny, you must let the audience feel it. --Song Jia
Indeed, Song Jia did it on Zhou Rong, and she also did it on Chen Kaiyi.
In this "Dress" with the label of fashion professional drama, although the audience is provided in advance with the material to solidify the image of Chen Kaiyi's "fashion female devil" who does not change the soup and does not change the medicine.
But after jumping out of this radius, Song Jia naturally does not want to be bound to stereotypes, and she is not satisfied with only swimming in the atmosphere of the mood and sorrow of the people in the play, which is too shallow for her.
Through the appearance of the role, she is more willing to probe the tentacles, so whether it is Zhou Rong or Chen Kaiyi, you can always feel a kind of interlacing of manpower in time and space in them.
Even around the various key words that are circled, Song Jia also shows us more possibilities as an actor. In this play that portrays the group portrait of professional women from a female perspective and emphasizes women's self-strength and self-expression awareness, she sketches a character biography in two "shallow" sentences, "Chen Kaiyi has lived herself into a female warrior.".
Not for the sake of being strong and going strong, nor for the sake of the aura, Song Jia frankly said that Chen Kaiyi's temperament from the inside out still needs some energy to bless.
She can always maintain an elegance and decency in the torrent of the times, which makes Song Jia remember this image the most, and her own makeup and style in the play have obviously become a sharp weapon.
No matter how pale and tired Chen Kaiyi's face was, there was always a big red lip stubbornly supporting her not to be angry.
The same styling clues are also reflected in Chen Kaiyi's daily wear, including many classic workplace styles, which are of great reference significance.
Of course, the most indispensable thing is the blazer with simplicity and competence as the essence, which is not only a classic that highlights quality and fashion, but also the best versatile piece for the transition between winter and spring.
The soft tones and retro checks show elegance, and the fashionable and exaggerated belt style is also preferred, which can create perfect proportions and get rid of the formal sense of business suits, which can be described as a great weapon for aura blessing.
Putting aside the tenacity in Chen Kaiyi's bones, she is also a woman with a soft heart. People who have watched the play know that it is difficult to ignore Chen Kaiyi, who is wearing a print, and her beauty that penetrates the back of the paper is bright enough even if she shuttles through the crowd of surging trends. Without being too complicated, the small area of floral embellishment can also play a role in the finishing touch, which is enough to set off her scene and state of mind at that time. As long as the fire of the flowers is properly grasped, it is no harm to please yourself in wearing.
Using fashion language to show the charm of Chen Kaiyi's role of "lonely female warrior" is harmonious and full, just like a fashion concept she always conveys: clothes are used to help people, not to trap people. This also has a lot of similarities with Song Jia's own dress attitude, just like the consistent slogan of "arriving at beauty, defending beauty" in the play, which is blooming.
Interestingly, as a meticulous Song Jia, Meryl Streep's academic school has naturally become a performance law that Song Jia respects, and the clarity of beauty is similar to Song Jia's early label of "sexy".
Today, Song Jia has gradually appreciated Isabelle Huppert's state of being playful and charming, and in the face of these two very different likes, it also happens to prove the transformation that Song Jia herself has undergone.
In the debut of the "Curiosity Kills the Cat" role was labeled "sexy" and emerged, Song Jia, who could have quickly become popular by relying on "human design", seemed to have a momentum, not bound by the label, not defined by the role, but showed a more diverse charm factor in the subsequent identity.
Even though the word "sexy" is still kept secret in the eyes of most women, Song Jia was the same in the early days, but now she is more frank.
The word seemed to have been annotated here in the meaning of metamorphosis: high-level, beautiful, a mysterious but existential breath, which has nothing to do with wearing more or less, it is a state of ease, self-pleasing or a moment.
I like an interpretation of Chen Kaiyi in "Dressage": "Why does the dress have to be a dress?" Dressing should be an attitude, an atmosphere. This is probably quite similar to Song Jia's own fashion attitude.
When many of her peers still emphasize age-reducing vitality, Song Jia seems to have embarked on a more mature and intellectual style early in the morning, and this distinct and relaxed wearing concept has also made her more and more well known in the fashion industry. However, many people regard her dress as a dressing treasure, but at this time, she personally tells us: "Girls should wear out their personality and attitude, and be unique." ”
She loves art because there is never a definition of "must" in her dictionary, and she once said that when she entered the conservatory, others would choose to wear items such as the qipao when they played the willow piano, and she wore a jeans shirt.
As one of the classic combinations, small-area design pieces can also make the whole body look more effective in the early spring, and it is difficult to be fashionable at the same time.
The same collocation, the same material, once you choose a different piece, the atmosphere of the dress will also change. As long as the inspiration of the "Ren Dou Second Pulse" is opened, it is also the excellent concept that Song Jia exudes in the way she wears without losing her body and easily conveying the freedom and tension of liberating the body and not being bound.
Even after work and want to relax with your friends, changing into a loose and lightweight tweed coat is a great choice. When casual meets elegance, Song Jia also handles the balance between fashionable formality and comfort very well.
"I've always wanted to present in my body not only the cut or style of the clothes, but also the conversation and connection between me and the clothes." This is an exclusive ability of the actor, and it is also a different feeling that the clothes bring to me, which gives me not only protection and beauty, but also a self-narration, an emotion. --Song Jia
She doesn't need others to tell her how to wear it, she always has a self-attitude towards fashion, she is a model of "cool girl" in this era, and the poetry and freedom that transcends everything in her body also does not need a deliberate gesture.
Just like Huper, even if he stands on the red carpet, he still feels like he has just taken a shower, and he is very comfortable wearing sunglasses, and he doesn't have to please anyone, that's enough.
Song Jia is like this, in the era when women are given symbolic value and pushed to the altar countless times, she is still willing to choose to live an intellectual and full life.
This unique woman power still makes the current Song Jia sensitive enough to the discipline of society to give female images, and it is also free enough.
Whether it is in such a sharply sketched realism of the era drama, the Zhou Rong, who is caught up in the torrent of the times and dares to love and hate, romantic and poetic, or Chen Kaiyi, who is full of emotions and sharpness in the fresh workplace group portraits, they all present us with a female force exclusive to Song Jia.
As the end of the opera Faust says, "eternal women guide us upwards", Song Jia is always good at conveying female beauty through her works and characters, just like her fashion attitude: people are in the clouds, and it is enough to go with the flow.