Xu Ming can't remember the last time he walked into the theater, but he only remembered going to the theater once with his classmates in the drama club during his college years, which was a group activity of the drama club, the purpose of which was to get close to the stage and learn and discuss the art of theater performance.

The theater in my impression is, of course, the stage to the stage, and the audience to the audience, clearly arranged in the same space. The stage belongs to the actors, and the audience belongs to the audience, as it seems to have always been the case in ancient and modern times. I play my play, you see your lively, natural existence, there is no need to question its rationality.

When Xu Ming and Zhongqin walked into the newly decorated theater hand in hand, they were confused by the scene in front of them. He and the carillon seem to have walked into a small town in the south, and what appears in front of them is not a stage, but the shops and streets unique to a small town in the south. The actors seem to be shops everywhere in life, and the audience is no longer just spectators, but ordinary people chatting while shopping, or tea customers sitting in teahouses and watching the street scene.

This ingenious new layout completely subverted Xu Ming's past cognition. The feeling that it should have been so is gone, and in this completely realistic stage scene, an immersive experience comes to life. Such a theater atmosphere undoubtedly shortens the distance between the actors and the audience, and invisibly enhances the appeal of the play. The actor has become a living character around him, and the audience has become an inseparable part of the whole stage.

The lights in the auditorium slowly dimmed, and on the stage, the actors were busy shuttling back and forth in the set market, Xu Ming sat in the renovated theater, feeling the new stage setting, lighting and sound, following the lyrics and dialogues of the characters in the play, and slowly sinking into the twists and turns of the plot.

When he came out of the theater, Xu Ming found that the carillon's eyes were red and there were tears on his cheeks that had not yet been wiped off, so he admired Qin Yufen's acting skills with emotion: "This Qin Yufen played Liu Fengying alive, the most important thing is that she portrayed Liu Fengying's psychology in three points, which made people think deeply. ”

Zhong Qin's mood was a little excited, and she didn't seem to have come out of the plot yet: "The play that Qin Yufen is acting in now is not only a little different from the previous plot, but also the meaning she wants to express is also very different. The most significant thing is that in addition to the fact that she plays Liu Fengying is still infatuated and infatuated with Cai Mingfeng, after learning that Cai Mingfeng has a wife's true feelings, her unspeakable regret and reflection are also embarrassing. ”

Xu Ming also feels the same way: "Art comes from life, and an actor is not only a character on the stage, but also a character in real life, and his or her performance will undoubtedly bear all kinds of traces of life." Qin Yufen's reshaping of Liu Fengying's character should also be related to Qin Yufen's life and her emotional experience in the past ten years. The role of Liu Fengying played by her is undoubtedly a third party for another family in the drama story, and she herself suffered from the intervention of a third party in her family in real life, and suffered the betrayal of her husband to herself, and she was completely defeated by a third party in real life. Looking at the characters and actors in the play from this perspective, Qin Yufen obviously has a different understanding of the role she plays, so she will have more thinking and performance. It's just that the era in which the character in the play lives is very different from the era she is experiencing now. Therefore, her grasp and adaptation of the psychological activities of the characters in the play are still very subtle, and she has not departed from the era in which the characters in the play live. ”

Zhong Qin nodded in agreement: "The times are different, but the same encounter has a different ending. The women of the feudal era in which Liu Fengying lived, whether they pursued love or the dignity of women, were not sympathetic and protected by any morality and law. All they can have is the tears of the weak, the fate of enslavement that the women at the bottom themselves cannot change. ”

Xu Ming felt that he was still unsatisfied after coming out of the theater: "In the play, in the feudal society in which the protagonist Liu Fengying lives, women are at the bottom of social and family life, for them, the feudal ethics and morality of the three outlines and five constants and the three obedience and four virtues are their heaven, their land, their unchangeable fate, and they cannot escape the ruthless spiritual shackles created by feudal morality." But there is a seed of love in their hearts, which will take root and sprout when the right time comes, which is actually a symbol of the hope of women at the bottom for life, and it is a hope that no one can take away from their hearts. It can also be seen as their dissatisfaction with their living environment, and their yearning and pursuit of a happy life. And because of the shackles of feudal morality, most of the final encounters in their pursuit of a happy life will inevitably become a lamentable tragedy. But like moths to a fire, they would rather burn themselves in the fire for love than give up their heart's desires easily. ”

The more Xu Ming thought about it, the more he felt that Qin Yufen's adaptation was very successful and meaningful: "In real life, when Qin Yufen faced a third party who invaded her marriage, she realized that what the third party pursued was not all love, but something other than love. Regardless of the social context, third parties are usually condemned by society. It's just that in modern society, the law protects the legitimate rights and interests of all people equally, and of course also protects the legitimate rights and interests of third parties. Compared with the previous script, I found that Qin Yufen added a new lyrics: 'I regret that at the beginning, my sister should not have secretly married my brother with her love brother. In this drama, after Liu Fengying learned that Cai Mingfeng concealed the truth that she had another family, she was disappointed and lacked the maintenance of 'love' with Cai Mingfeng, and the story that happened afterwards was just 'righteousness' at work. Of course, love is the love between men and women, and righteousness comes from a kind of remorse, because for Cai Mingfeng's family, Liu Fengying, as a third party, although she broke in unintentionally, it happened when Cai Mingfeng concealed the truth, but she was indeed one of the reasons for the change in another family. After that, everything she did for Cai Mingfeng was an act of redemption for her awakening as a third party. ”

Zhongqin stopped and looked at Xu Ming a little distracted: "I really didn't expect that you are still a professional drama fan." You are really into the play, I think your analysis is too good. You're right, the original play was only touched by the third-party love between Liu Fengying and Cai Mingfeng, and the whole story was a love word, but now the adaptation has one more righteous word, the whole play is judged by the two values of love and righteousness, and the audience is moved by the two personalities of love and righteousness, so the connotation has become richer than the original plot. ”

Xu Ming continued to comment on the novel details in the play: "The male and female protagonists in the play are relatively third parties of each other's families. The difference is that Cai Mingfeng always knew it clearly, while Liu Fengying was deliberately concealed by Cai Mingfeng and didn't know until Cai Mingfeng was about to leave. Some people renamed this play 'Poignant Extramarital Affair', which values the skin, but loses its connotation, and has the idea of grandstanding, which is far inferior to Qin Yufen's current changes. In this way, it changed from heavy love to heavy righteousness, jumped out of the narrow story of male and female love between two lovers, and finally deduced into a story of righteous revenge, which has a deeper social significance, so that the love of the third party is sublimated in the ending. From a personal emotional story, it has been sublimated into a moral story with social value. ”

Xu Ming and Zhongqin watched the last show, and when they walked out of the theater after the performance, the night was already shrouded in the street, under the dim street lamps, there were few pedestrians, and the traffic during the day was gone, but the two were talking.

The carillon has seen too many tears of women on stage, and there is always a knot in my heart that is difficult to untie. She couldn't help but ask a question that she had thought about many times in her heart: "Why is it that in the tragedy of marriage and family, it is always women who are hurt?" It is always women who endure humiliation, and it is women who choose tolerance in the end? Is this intentional, a preference for male writers? Or is it due to the reality of the environment? ”

Xu Ming looked at the carillon who was deep in thought and said, "I think your question can be said from the perspective of the history of Chinese theater development. Chinese opera is mainly a synthesis of three different art forms: folk song and dance, rap and burlesque. It originated from primitive song and dance and is a comprehensive stage art style with a long history. After a long period of development and evolution, it really prospered in the Ming and Qing dynasties. The Ming and Qing dynasties were in the late stage of China's feudal society, during this period, various social contradictions were highlighted, and the oppression of women in social life was more serious, which was specifically reflected on the stage of the drama, and women became the protagonists of social tragedy in this period, their personal dignity was ruthlessly deprived, and their natural nature was ruthlessly destroyed. So much so that in the dramas that reflect the real life of this period, the female characters have a strong tragic tone. ”

Zhongqin couldn't help but praise: "You really don't just like drama, but you have a certain amount of research, and your understanding is also deep." Listening to you say this, I have a feeling that the fate of any character is in line with the times. Therefore, those women on the stage of the theater are always full of tragedy. ”

Xu Ming took over the topic and continued to talk about his understanding: "After the Xinhai Revolution, the rise of the New Culture Movement, and the outbreak of the May Fourth Movement, with the development of anti-feudal ideology, advocating new morality and opposing old morality, the women's liberation movement began to develop extensively and deeply. In modern times, from the standpoint of opposing feudal etiquette and advocating the emancipation of individuality, he has exposed and criticized the norms that violated rationality in the relations between men and women in China's feudal society for thousands of years, and put forward principles and propositions that meet the requirements of social progress. It can be said that China's women's liberation movement has since become a vigorous historical trend, and with the sweep of this trend, the sludge and muddy water that has been deposited for thousands of years have been swept away, and only then have Chinese women truly moved towards a broader stage of social life, and they truly have their own independent personality and dignity. ”

Xu Ming praised Qin Yufen's adaptation when he said this: "Qin Yufen decisively removed the plot of Liu Fengying's death by hitting the monument in the ending of the original script, indicating that she opposes martyrdom for feudal etiquette and betrayal, which is a real awakening, and it is also the awakening that should be there in the process of women's liberation, and it is also the awakening that must be had." With the awakening of this subjective consciousness, women can really improve their status in social life in self-consciousness, which is not given by others, but obtained from self-awakening, without the awakening of this consciousness, there will be no real emancipation of women. ”

Zhong Qin turned around and looked at the super theater fan next to him with appreciation, and looked at Xu Ming, who had become an orator in a blink of an eye: "I didn't expect you to have such a deep understanding of not only the history of theater, but also your own understanding of the women's liberation movement, it seems that you are destined to become the top theater fan in our family." ”

Xu Ming said with a smile: "I am not only a drama fan, but also a drama practitioner, when I was in college, I also wrote a script for a modern play, and it was staged several times in our department, and I was praised by my classmates for a while. ”

Zhong Qin tilted her head and stared at Xu Ming, the smile on her face couldn't hide a hint of banter on the corners of her mouth, she asked with a pun: "What kind of modern drama does Xu Dacai write, is it also a moving love story?" Is it a love story that you have personally experienced, or is it a nonsense theme? ”

Xu Ming looked at the carillon's playful expression and said with a smile: "You only guessed half right, it can indeed be regarded as a nonsense theme, using the legends and clues of historical figures who have not undergone any research, to fictionalize a fictional war story, but it has nothing to do with love." ”

Zhongqin pretended to be disappointed and deliberately pouted: "It turns out that Xu Dacai also likes to deceive people, you boys always like those war themes." I thought you would write your own love story, but it was so disappointing. ”

Xu Ming saw the carillon's careful thoughts, he took the carillon's hand and smiled: "My love story starts from now on, and this story is written by the two of us." I definitely can't write it alone, and I hope you can consistently help me complete this story. ”

A satisfied smile appeared on Zhong Qin's face: "Love and chivalry are the most touching themes, let me tell you a true story, maybe you can make up a modern version of the drama story, a bit similar to the script of Chen Shimei and Qin Xianglian's story, this story is known to our colleagues in the emergency department, it is a true story that is the most incomprehensible and indignant." ”

(Next Preview: Chapter 101: The Doctor's Confusion)