The second season of the country's first classic text reading program "Sven Jiangnan" recently returned to Oriental Satellite TV, every Friday at 20:30, the program continued to use "reading" and "talk" as the incision, focusing on the four major Jiangnan cultural landmarks.
The second season of the show has made adjustments to the lineup of entertainers and cultural scholars, and Cao Kefan is still sitting in it as the host. This time, he has a new understanding of his role in the program—a "cement maker" who smears "literary scraps" on the "bricks" of classic texts.
Cao Kefan continued to sit in the second season of "Sven Jiangnan"
People, literature, scenery, love, four in one
Walking into the recording scene of "Sven Jiangnan" again, Cao Kefan's eyes lit up, "The second season of the show spent a lot of effort on the creation of real-life vision, making a three-dimensional, 360° rotating scene, so that several scenes can appear in a program, and the visual effects are richer."
Of course, as a cultural program, how to spread excellent traditional culture with elegance and appreciation is the core. Cao Kefan said that in this regard, "Sven Jiangnan" draws on the production experience of the first season, and pays more attention to combining the classic text and its author, the local style and customs of each station, and the life experience of each guest in the second season, so as to achieve the four in one of people, literature, scenery and love.
For example, in the first program, Yue Yunpeng read Tao Yuanming's "Responsible Son", and Tao Yuanming nagged about counting all 5 sons, which made Xiao Yue Yue can't help but recall his childhood: his family was poor, there were many children, and his life was quite difficult. So he "understood" Tao Yuanming in seconds, spanning thousands of years to establish emotional resonance with the ancient sages.
A song by the talented girl Guan Sheng of the Yuan Dynasty, "My Nong Word", is known as a classic work of reciting love through the ages. The entertainers Tang Yan, Chen Long, and Wu Yue who participated in the recording of the issue all combined with people in the circle and entered into marriage, and the lack of gathering and separation caused by the nature of their work also gave them a lot of new interpretations and feelings of "My Nong Word".
Yue Yunpeng reads Tao Yuanming
Reconcile the Dingyi and inspire the state of each guest
Some people feel that entertainers are like dispensable decorations for cultural programs, but Cao Kefan does not think so. He revealed that the actors who participated in the recording of "Sven Jiangnan 2" are very serious, most of them will memorize the texts they want to read, and some texts are particularly difficult, and they will also carefully pick them word by word to avoid mispronunciation. "Like Tang Yan, she will carefully check the monitor every time she records one. Since the birth of the Mao Dun Literature Award, there have been 48 award-winning works, and I have only read half of them, and Yu Ailei said that he has read all of them. ”
Of course, entertainers are not professional in literature after all, and when talking with cultural scholars, it is easy to say their own thing, forming two layers of "skin", "At this time, the host is needed to reconcile the dingyi and stimulate the state of each guest."
Yu Ailei reads Wang Guowei
From thick to thin, from thin to thick
When recording the first season of "Sven Jiangnan", Cao Kefan revealed that he had to watch nearly a million words of material every time he recorded a station, and this is still the case in the second season. "Each station involves three or four literary masters, and each of them I will look for a biography of 200,000-400,000 words, which is roughly estimated to be 1 million words." While reading, the key points are marked, and then read intensively, and then the book of more than 200,000 words is summarized into 6 pages of notes for easy memorization. "This process is the most painful, but fortunately, when I was in medical university, my teacher taught us that reading should go from thick to thin, and then from thin to thick." Cao Kefan said with a smile.
So how to "go from thin to thick"? Cao Kefan introduced that the text team of the program will come up with a structure book after interviewing all the guests, and then he himself will hold 6 pages of notes to meet and discuss with the text group, and finally produce a large text of about 30 pages per episode. "In the previous section, I will comb through my notes and large texts again, and when I go to the recording site, I don't read it except the process, and I completely improvise it."
"Very 6+1", understanding the characters in the context of the times
Each station has two cultural scholars, four entertainers (one station is three), plus the host, Cao Kefan laughed and said that this is a "very 6+1" combination, "I am also a content exporter, but a limited exporter, I will add some interesting historical details when talking."
For example, at Huzhou Station, some guests mentioned how many giants Huzhou is, and Cao Kefan immediately thought of the proverb that Nanxun has "four elephants and eight oxen, seventy-two little golden dogs", of which Zhang Jingjiang, one of the "four elephants", played a very important role in the Xinhai Revolution. "Nearly eighty percent of the funds for the Xinhai Revolution came from him. He met Sun Yat-sen on a ship bound for France, and was moved by Mr. Zhongshan's revolutionary ideals and donated 30,000 taels of silver as funds for revolutionary activities. He also agreed with Sun Yat-sen that he would need funds in the future, so he sent a telegram with ABCDE as a code word, and each letter could withdraw 1~50,000 taels of silver. Sun Yat-sen didn't believe it at first, but Huang Xing tried it and got the money. ”
When it comes to Xu Zhimo, Cao Kefan listed the evaluations of Xu Zhimo that he saw in different places, including Zhang Youyi, Lu Xiaoman, and Lin Huiyin, thereby restoring a more objective image of Xu Zhimo. He also suggested that Deng Chao, who played Xu Zhimo, cut in from the perspective of the background of the times to re-understand the characters, "In fact, those writers of Xu Zhimo's time, such as Hu Shi, Yu Dafu, Mao Dun, etc., all faced a common problem: the first marriage was an arranged marriage. And the greatest baptism of the New Culture Movement for them is to guide them to pursue freedom. We cannot judge them through the eyes of today's people, but return to the context of the times."
Deng Chao reads Xu Zhimo
Picking up the missing and making use of "literary scraps"
In addition to historical details, there are also interesting "literary scraps". Cao Kefan gave an example: "Wang Anyi is a winner of the Mao Dun Literature Award, everyone knows this, so is there any intersection between herself and Mao Dun?" When I read the information, I found that Mao Dun has always been willing to promote his juniors. In 1958, he wrote an article praising a short story he saw called "Lilies" for its fresh and handsome style, meticulous and rigorous structure, and impressive characters. And the author of this novel was Ru Zhijuan, a politically frustrated female writer at the time, and Mao Dun's words greatly encouraged her. And Ru Zhijuan's daughter is Wang Anyi. ”
Also a Mao Dun Literature Award winner, "White Deer Plain" was mentioned many times at the recording scene, and Cao Kefan shared some of Chen's mental journey of creating the novel. "Why did Chen Zhong write "White Deer Plain"? He said that he has been writing for many years, but he has not been able to write about his true feelings about life, and a hundred years later, he lacks a work that can be used as a pillow. For this reason, he specially returned to his hometown to create, and poured deep feelings for the works and characters. Chen Zhong never drank, but on the day of Tian Xiao'e's death, he cried while drinking heavily. And on the day of the completion of the manuscript, Chen Zhongzhong was even more excited than words, so he turned on all the lights in his home and courtyard, and used the radio to play the deafening Qin dialect, and the people in the village thought that something had happened to his family, and they all ran to see it..."
Cao Kefan believes that such stories may not remain in literary history, but they are useful for illustrating the character of a writer and the power of a work. "As a host, my function with "Sven Jiangnan" is to pick up the missing parts, smear these 'literary scraps' like cement on the 'bricks' of classic texts, and make the 'wall' of cultural programs thicker."