Xinting "so" thing, why did Bo Ren die?

Author: Zhang Min

Thirty-nine years ago, the playwright Zheng Huaixing poured his full sense of distress and life sighs into the Wei and Jin dynasty scholar Zhou Boren and wrote the culmination of contemporary historical drama "New Pavilion Tears". Perhaps yangchun white snow, advanced consciousness, "New Pavilion Tears" won the national screenplay award and was written into the history of contemporary opera, but only performed by the Xianyou County Putian Drama Troupe for seven or eight years, and the local drama adaptation, transplantation, and reproduction of the times are rare. The China Critics Theater "continued to talk" this classic, asked Zheng Huaixing to personally change it to a commentary, and completed the second creation.

The "old" affair of Xinting has been recorded in only 100 crosses by books such as "Jin Shu Liechuan 39" and "Shi Shu Xinyu You Regret 33", and the playwright "seeks and discovers from the cracks of history", and has been cleverly conceived to play it into a newly edited historical drama with a deep ideological and historical sense. The play tells that during the Eastern Jin Dynasty, Emperor Yuan was partial to An Jiangzuo, in order to contain the power of the Wang clan, reusing Liu Kui, Wang Dun rebelled in the name of The Qing Jun,His brother Wang Dun (丞相王導) knelt down to avoid suspicion and asked his old friend Zhou Boren to intercede; Wang Dun's army invaded the capital, Emperor Yuan ordered Liu Kui to move his troops to Qin Wang, Liu Kui abandoned the king and fled, Wang Dun forced the palace, Zhou Boren stopped the civil unrest, and apologized for the king; Wang Dun wanted to kill Zhou Boren, asked Wang Dao, Wang Dao did not say anything, Bo Ren was killed, Wang Dao saw that he had tried to protect his own chapter, regret it, and he was bitter." Although I will not kill Boren, Boren will die because of me."

The playwright writes "sex" with "feelings", and stands on the stage of art and the times of the conflict between the king and the subject, the subject and the subject, and the self and the heart, showing the struggle and choice of each person in the face of the intermittent survival of the world.

In the trance of drunkenness and non-drunkenness, the play cleverly completes the shaping of Zhou Boren's image. Without seeing his person, he first heard his voice, accompanied by Zhou Boren's laughter, a drunken but about to enter the upward distance of the old minister came into view, a little dashing and ethereal, a little drunk, but could not cover the inner anxiety and pain of "everyone is drunk and I am awake alone". Wang Dao was anxious to ask for his help, zhou Boren was drunk and confused, but he asked in his heart, "You can't rule a clan, how can you rule a country", and then he even opened his mouth and scolded: "The country is in turmoil and danger, but the leader of the clan, Wang Dao, only knows how to passively take responsibility, where is the responsibility, and where is the heart of the soldier?" Above the court, Zhou Boren "lost his dignity after drinking", and then rebuked the king, "The inner palace does not ask about the government, and there is no king." In response to Liu Kui's many tricks, Zhou Boren even used wang dao's three reasons of "killing" to remind the Jin Yuan Emperor of the real situation of the country's peril. Looking for old dreams in xinting, Zhou Boren drank bitterly, sang about the wine, wept bitterly, and sighed: "Wen cannot revitalize the gang, and Wu cannot recover the Central Plains." I was born with no use, like a grasshopper parasitizing the world. "Between drunkenness and wakefulness, it is the sadistic heart and breakthrough of a generation of literati who hope for orderly people in the world, the spiritual ideals of scholars and the aspirations of the world that are difficult to achieve."

This is a play depicting the inner confrontation between men, with the help of subtext dramatic actions, voiceovers, confrontation dialogues and other means, the contradictions and conflicts between Jin Yuandi, Liu Kui, Wang Dao, Wang Dun and other characters are externalized, so that the relationship between the characters is intricately intertwined. Although Emperor Jin Yuan admired the talents of the Wang clan, he was also afraid and envious of the high prestige of the Wang clan, and the appointment of Liu Kui was precisely because of his inner uneasiness; above the court, Liu Kui deliberately relayed a nursery rhyme "The horse seizes the slot, the king kills the horse", which instantly aroused the trepidation in the heart of the Jin Yuan Emperor, and he urgently wanted to raise a pen and kill Wang Dao, but he was also indecisive and worried that Liu Kui was dominant. In the face of the crisis of the country, Wang Dao, as the head of the warrior clan, although he was very worried and indignant in his heart, he felt that people's words were terrible, closed the door to guests, and was alone with pity; when Emperor Jinyuan visited, he scrupulously observed the courtesy of the monarch, and when he wanted to be angry, he endured, wanted to say goodbye, and obeyed the law, but gradually departed from the righteousness of the law. Wang Dun flaunted the side of the Qing Emperor, but in fact could not eliminate the fear of General Zu Ti who pointed directly to his soul, the northern enemy took advantage of the void, the country was crumbling, and on the shore of the new pavilion, under the sword, his people's selfish desires were fully displayed. In the Eastern Jin Dynasty, the king is not a king, the subject is not a subject, the soldier is not a soldier, the civil and military are not in position, the public and private are not separated, and the foundation of the world is in danger.

Xinting is where Zhou Boren "became himself". Once upon a time, Wang Dao, Zhou Boren and other courtiers and friends drank and feasted in the new pavilion, worried about the world, and wept with each other, and the new pavilion carried the sorrow and ambition of everyone. At present, Xinting has become confused about crying, leaving Zhou Boren alone to insist. The scene of Xinting appears twice in the play, the first time is Zhou Boren talking with the immortals in the new pavilion, this scene uses the means of imagery to externalize an immortal image with a Taoist bone immortal style, and the immortals use fan li, Qu Yuan, Zhuge Liang, Su Wu, etc. to show Zhou Boren the example of loyalty to the country and the livelihood of the world, and Zhou Boren can "see himself". The second time, Zhou Boren played and sang in the new pavilion, in order to inspire the loyal souls of the world, corresponding to the new pavilion play in the front scene, with "the new pavilion plays a song, the wine awakens the crane and flies high", and uses music such as flutes, guqin, and big drums to render the atmosphere of righteousness and generosity to death with an agitated tone. "Wine wakes up the crane to fly", Zhou Boren finally realized.

The commentary drama Sushan performs family ethics, marriage and love, close to the people's livelihood, easy to understand, and now the commentary version of "New Pavilion Tears" shows that the commentary also has the ability to carry history and express profound ideas, and the whole drama creates a firmament, a minimalist multi-meaning space, a classical charm and modern meaning that haunts the stage, and the prominent Wei and Jin wind bones and the literati's bosom, so that the viewer can reminisce endlessly in the world of "New Pavilion" where poetry and painting are seen in terms of literary quality. (Zhang Min)

Source: Beijing Youth Daily