Two years ago in the memory, also in the Hive Theater, "The Rhinoceros in Love", directed by Meng Jinghui and starring Huang Xiangli: the girl with long hair in the red dress was obvious, the outrageous petty bourgeois tone, more literary and artistic, so sensational lines, so straightforward sensationalism, I sat in the audience and laughed with everyone again and again, and then in the gap between hilarities, completely silent tears under the cover of hair. While shedding tears, he laughed at himself: what a cliché without technical content. It is ridiculous that there is nothing that can be done about tears. This extreme experience, I always remember. But why? Why is it hilarious? And why do you cry? Now I think it's a bit vague. I just remember that I liked the script too much at that time, and read it many times before entering the theater.
This time, Meng Jinghui, with his royal love Huang Xiangli, single-handedly picked the beam, a drama of 120 minutes, she held up alone. Applying foreign languages, dance, composition, singing and other skills to the play, she boldly played 5 roles, sometimes wearing a black puffy skirt to play the obedient, violent, and sad 17-year-old girl Cecil, sometimes transformed into a father who was born with a temperament and a pleasure-seeking, sometimes it was elsa, sometimes it was elisa, sometimes it was the gentle and honest old lover Elsa, sometimes it was full of cunning and vitriol, and sometimes she was the ignorant first love little boyfriend, this elf and changeable girl released the multi-faceted potential of an excellent drama actor like nuclear fission. The novel "Hello, Sorrow" by the famous French writer Sagan is elegantly presented in such a unique and cold way.
As a female Wenqing who is overly obsessed with drama, I am always resolutely and effectively hit by Meng Jinghui's choreography; and this time, the design of "Hello, Sorrow" is even more admirable for the clever design, because it is a one-man show, Director Meng divides the stage into multiple layers of staggered grids in space, and each sub-role and each storyline are transformed with the transformation of the grid. Nothing is impossible！ All the details, all the plot, want to fall out of the sky thoroughly, many metaphors hide poetic beauty, from beginning to end, I enjoyed the fun of guessing and cracking. Every unexpected, people are suspicious; then, they exclaim, clap their hands and sigh!
Alternatively, it is worth mentioning that the play has applied for the exclusive authorization of the French Embassy, and perhaps even the people in the embassy think that something so difficult has been put on the stage of the drama, which is simply "incredible" and exciting!
I have not read the whole novel of Sagan, but I have done a little homework for her work before watching the play, Sagan is a typical Frenchman, although there are only two things in the novel - love and depression, but the French have a high opinion of her, thinking that she is the last writer to write from the soul of France. Of course, by the way, not the giants, the French are not critical. The drama "Hello, Sorrow" is enough to make people reminisce, Sagan's acumen and delicacy, as well as the youth that jumps in the face, it is really unstoppable, and at the same time it is full of fun and poetry, exuding a faint melancholy.
Whether as a work or simply two words, hello! sadness! This combination that fits so perfectly and so strangely just breaks through the long-lasting and unspeakable emotional contradictions in the hearts of the so-called young generation, in the arrogant and romantic France, but also in the sad reality of China.
"Think freely, think freely, think less freely, freely choose my own life, choose myself." I can't say "be myself" because I'm just a plastic dough, it's just that it rejects any mold. "--- Sagan," "Hello, Sorrow"
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