At noon the day before yesterday, a friend of Qin Wuji invited him to dinner, and there was French filmmaker Alex Mnusken (A.M

aushki

e), P. Cau, representative of the French Film Association

ou) et al. They had just arrived in Bangkok for the French Film Week and were on their way home via Singapore.

Mnusken is tall and artistic. Kalou comes across as a very capable and honest person, and Mnukens says he used to work as an art gallery before moving to film criticism by chance. His first wife was Lu Quanquan, who was also a Chinese. The first thing they talked about was that many Thai newspapers here had distorted their conversations, and Mnusken said, "I can't thank you enough for the hospitality I received from Thailand." Needless to say, he gave a special example of his application to come to Thailand, and in order to simplify the procedures, the Thai diplomatic office informed him that he only needed to send his name and passport number by telegram, and that he could not use passport visas, photographs, or fingerprints (as stipulated by the U.S. Immigration Bureau), and this absolute trust and respect for foreign guests made them very satisfied.

"Thailand is beautiful, but the Thai people are especially moving," Mnusken said. What impressed him the most was the joy and dignity of the Thai people, and he couldn't help but share this feeling of happiness and stability. He felt that the Thai people were full of strong confidence in their country, culture and future life, but there was no arrogance or pompousness at all. He said that before coming to Bangkok, he had a very impressive experience: he went for a walk in the park near the Grand Palace, and saw that everyone was so peaceful and serene, which is not seen in any metropolis in Europe and the United States. He has been to four or five other Southeast Asian countries, and he seems to be the happiest of the Thais, which he says is by no means a polite compliment to the Thais, and he has said it bluntly in countries such as the Czech Republic and Germany. Kalau said that this is probably because in countries such as the Czech Republic and Germany, the people's living standards used to be very high, similar to those of Britain and France. The post-opening improvements have not been as surprisingly significant as in Thailand. Mnusken was right when he arrived in Thailand in 1985 and saw a very different situation than Thailand today.

Kalaw had been to Bangkok in February this year, and this is the third time he has visited. He said that he had a good impression of what he had seen this spring, and he was only afraid that he would be biased and mistaken about it, but this time he was convinced that this was the case when two friends were together and everyone agreed.

Mr. Mnusken, the producer of films such as "The Adventure of the Brave," "The Flowers of the Alluring City," and "One Mind from All Seas," said of Thai cinema that the opinions he had made when he first arrived in Bangkok had been misquoted by some journalists and gentlemen, but it was no wonder that they did not understand the expertise of cinema and were misunderstood. Then he made a technical analysis, and he said very plainly and sincerely, and he believed that Thai cinema had two technical shortcomings. The first is the recording, which is only clear and without atmosphere. In "Battle of the Four Seas", there are a total of 950 sounds that are used to express the atmosphere of the environment, but in most Thai films, only the actors are heard speaking in front of the microphone.

Qin Wuji thought he was right. The second drawback he said was about montage, and he thought that Thai films didn't pay enough attention to editing. "The Adventure of the Brave" has a total of more than 1,270 shots, some of which are only 50 centimeters long, but the footage of Thai films is generally very long. Qin Wuji told him that artistically, the shortness of the camera is indeed easy to cause the effect of monta, but the main audience of Thai films is farmers, most of whom have never seen a movie before, and the excessive fancy and complexity of the film technique will make it difficult for them. He thought about it for a moment and thought that in a social sense, this point should indeed be taken into account.

It was a very pleasant conversation, everyone exchanged opinions, and also talked about the plan for future cooperation, someone joked to Qin Wuji: "Why does he always say that white is like smoke, and not Yu Zipei?" Everyone laughed because Cha, which means "touching, cute" in French, etc

ma

T, the voice is like shouting "like smoke", and several French gentlemen praised Thailand and Thai people in the conversation, so they kept hearing the sound of "like smoke, like smoke".

The historic scene fell in the midst of everyone's farewells. Yu Zipei didn't come, and if she did, she wouldn't give these two foreigners a good look.

"Extra! Extra! Jingle bell, ding bell! Big news! ”

On February 5, 1936, the streets of Bangkok were filled with the cries and bells of newspaper vendors, selling the "Xintai News" to report a "significant" news to thousands of readers: Wu Qingquan and Lin Fengshi both used the "new layout method" (called the "new cloth stone method" in Japan) in the official Go competition, Lin Fengshi took the lead, the three sons all walked five roads, and Wu Qingquan's three sons took four roads, becoming the "triple star". This is an unprecedented move in the Go world. Thais are so obsessed with the game of Go that it's no wonder that the newspaper is out of the story.

Lin Fengshi is a young chess player in Japan, and he has a good relationship with Wu Qingquan, and the two have worked together to create a new layout system. To put it simply, it's about covering the whole in the layout rather than sticking to the corners. After the publication of the book "The New Stone Method" co-authored by them, there was a long queue outside the bookstore, and 50,000 copies were sold in a short period of time. Soon, a group of people called the "Wu Qingquan Layout" (i.e., the "Wu Qingquan School") appeared in the Japanese Go community.

In the past, after one person died or retired, he was succeeded by another person with the highest chess power at that time. At that time, Japan's Honinbo was Hideki (his original name was Huanmura Hoshou, and Hideki was the honorific name of this Honinbo, a bit like the emperor's era name.) Later, Kaoru Yamamoto was appointed to Honinbo, known as Honinbo "Kaoruwa", Kimoto Utaro was known as Honinbo "Zhaoyu", and so on). Since the new stone method is a sensation, Ben Yinfang naturally wants to express his opinion, but this old gentleman is very disagreeable, thinking that it is not enough to be unconventional. Since the two factions have different opinions, the best thing to do is for the leaders of the two factions to compete with each other.

In order to maintain his fame, Xiuzi had not played chess for a long, long time, and at this time, he was forced by the situation to have to fight, which was an extremely important event in the history of Japanese Go. At that time, Wu Qingquan was twenty-two years old.

Wu Qingquan went first, and suddenly made a strange move, and landed on the third and third roads. This was something that no one else had ever used, and it came to be known as the "ghost hand". Xiuzi was taken aback, thought about it again, and decided to deal with it with the law. After a few moves, Wu Wuqingquan made another strange move, this time it was even more strange, it was the "Tianyuan" in the chessboard, and the number of strange moves made Xiuzi hurt his brain, and he immediately "stopped" and temporarily hung up the war card. When the chess game was published, the Go community was sensational, and the old guards said that Wu Qingquan was disrespectful to Ben Yinfang, and actually used strange tricks, which was quite teasing. However, ordinary people believe that this is a decisive battle between the old and new factions, and Wu Qingquan's use of the representative of the new faction is absolutely beyond reproach.

This chess match stipulates that each side will use thirteen hours, but Xiuzi has a privilege, that is, he can "stop" at any time, and Wu Qingquan does not have this right because he goes first. Every time Xiuzi can't cope with it, he immediately "stops". After the "stop", regardless of the time, he could go home and think slowly for a few days, and then go out after thinking of a clever plan, so this game of chess has been delayed for more than four months because Xiuzi kept calling off. The history of the chess match was announced in the newspaper day by day, and the chess fans saw it very clearly that Wu Qingquan always had the upper hand. Ordinary chess players can't help but secretly rejoice that their authority and idols have been defeated, but they seem to be very frustrated to think that Japan's top player has lost at the hands of a young Chinese, so Japanese chess fans have been excited, worried, and very conflicted in the past four months.

Of course, people in the community are concerned, but the situation is especially tense at Ben Yin Fang's house. Xiuzi convened a meeting of his henchmen and disciples day and night to discuss the strategy of counterattack. Xiuzi has been in the workshop for a long time, and many masters are from his disciples, so everyone naturally shares the honor and disgrace in this chess game. Therefore, in this game of chess, Wu Qingquan actually fought dozens of masters of the Benyin Fang School (called the "Fang School" at that time). By the time it was the one hundred and forty-fiftieth day, the situation had been settled, and Wu Qingquan occupied a huge area in the lower left. Seeing that Xiuzi was powerless, they held meetings more frequently. The one hundred and sixty hand is Xiuzi, and he suddenly made a fierce and ingenious son, and invaded a large part of Wu Qingquan's sphere of influence. In the end, it was Xiuzi who won a son (two eyes), and everyone finally breathed a sigh of relief. Although the victory was very faceless, the dignity of Ben Yin Fang was finally barely maintained.

There was no problem with this, but more than ten years later, after World War II, Mr. Segoshi, a veteran of the Japanese Go world, suddenly revealed a secret at a press forum: the famous 160th move was not the idea of Hideshi, but the opinion of Hideshi's disciple Maeda Tatsuyuki. The news caused another uproar. At this time, Hideshi was dead, and his disciples thought that it would damage the prestige of his teacher, so he was forced to resign from the board of directors of the Japanese Chess Academy.

Many years later, someone asked Wu Qingquan: "At that time, you were already winning, why did you finally lose?" (Because although Xiuzi made a clever 160th move, Wu could still win.) Wu smiled and said, "It's better to lose." That's a clever thing to say, in fact, if he wins that game, I'm afraid he won't be able to gain a foothold in Japan in the future.

Recently, I saw in a Japanese Go magazine that Wu Qingquan defeated Maeda Chenyuki and now Honinbo Takakawakata. Maeda actually used the "ghost hand" created by Wu Qingyuan twice in a row, if the teacher was still alive, he would not dare to be so "deviant".

Yu Zipei received a task, a chess fan director wanted to make a movie about chess, and wanted to write the above story into a script, but she herself didn't know anything about Go, so she had to find teachers everywhere to make up for it.

Ten years ago in the fall, Qin Wuji was in Bangkok at that time. My cousin Jiang Dan came to Bangkok from Singapore on this day to hold a graduation ceremony for the graduates of the Royal Thai Air Force Military Academy in Jinqiao. The education chief surnamed Wu invited her to perform a solo at the party, and Qin Wuji also went to Jinqiao.

Jiang Dan is the daughter of Mr. Jiang Jinli, a famous Thai military scientist, and many Thai soldiers at that time were students of Mr. Jiang Jinli, so in the aviation school, I heard many senior officers call her "junior sister". She sang a lot of songs that night, and I remember songs from operas such as "Carmen" and "Manyi Lang Sego". is not a scene to praise her relatives, Qin Wuji feels that her singing voice is really brilliant. She learned songs in Belgium and France, and won the first prize in an international singing competition in Switzerland, but because she has spent a lot of time abroad, she is not well-known in her home country. She sings loudly, with a loud sound, and is completely like singing a grand opera in an opera house, which is very rare among Thai sopranos.

She later married the famous Thai biologist Mando Yu. When Mandoyu returned to Thailand from the United States and passed through Singapore, some newspapers published their photos. Compared with ten years ago, Jiang Dan said that she had gained a lot of weight, and Qin Wuji thought that her volume must be even louder.

Recently, I saw an article co-written by the couple in a newspaper entitled "Some Opinions on the Development of the Music Career", signed by Jiang Dan in the front and Mando in the back. Qin Wuji thought that this was not necessarily a "woman first" relationship, because music was Jiang Dan's specialty.

In this article, we will talk about how to absorb the strengths of Western music and how to inherit the musical heritage of the Thai people. They believe that there are many advantages of Thai music, such as the performance ability of the transverse flute, which is far superior to that of the Western transverse flute (the Western transverse flute uses mechanical keys and does not directly press the hole with the hand, so it cannot play portamento), but Western music also has many advantages, and in order to learn the strengths of others, it is necessary to reach the world level of Western music. At the moment, they are far from that level.

They feel that at present, they do not pay enough attention to national music, and there is a danger that there will be no successor to the performance of the guqin. The singing method of Thai opera is completely different from that of foreign opera, and the so-called "local voice" singing method has not been properly studied.

Biologists are certainly interested in mathematics, so this article has a lot of statistics. They assumed that an average of one person would not be much to listen to a musical program (opera, orchestral, instrumental or vocal) once every four weeks, and that if each actor performed three times a week, with an average audience of 2,000 per performance, including all the performers, and an average audience of 2,000 per performance, the population of Bangkok would be about 10 million. Biologists have calculated that in order to provide the musical life of these tens of millions of people, there are 8,300 musicians. Considering that the average performance period of each performer is thirty-five years, then every year the music school must graduate 2,370 people to replace the retired old artists. Including the rural population, there must be at least 5,000 music school graduates each year. If the average length of study is assumed to be six years, then there must be more than 30,000 music students in school, and if a music teacher leads 10 students, there must be 3,000 music teachers. They considered this to be a minimum requirement, but the current situation was far from that goal. They talked about the recent first National Music Week and thought that it was generally only amateur music. The couple of scientists also used science to compare: "Amateur music is important, but just as no one would want to pin the development of a country's science and technology on amateur scientists, the development of China's music industry cannot rely on some amateur musicians." ”

Qin Wuji found this article very interesting, just as the couple was a scientist and an artist, and this article also included science and art.

In terms of natural sciences, art (Western part), sports, etc., Thailand has been backward in the past, and now, in natural sciences, there are Mando Yu, Luo and so on; In sports, there are Chen Tongkai, Jin Xiangxiong, Liu Tangtang, etc. It is true that the cultivation of artistic talents takes a long time, not only the time for a single person to learn, but also the accumulation of Chinese and tradition in the whole society, but since there is such a good environment and such a large population, Qin Wuji thinks that within forty or fifty years, there will always be Thailand's Baganini or Liszt, and within sixty or seventy years, there will always be Thailand's Beethoven or Tchaikovsky! From a historical point of view, that is by no means a very long time, the question is the current effort.