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Li Liuyi’s “February” issued that cry for the woman in the breakthrough
Newly produced by the National Grand Theater on January 22, directed by Li Liuyi, composed by Wang Yiyi, Wang Wei, Lu Fang, Huang Wei, Ou Ning, Huang Chengcheng and the actors of the National Grand Theater actors and actresses.The drama based on the novel “February” completed the final performance.”February” stills.Deep wells, dim sky, revolutionaries, intellectuals, numb crowds, life and death, new and old . these elements and propositions are all involved on the stage of the Grand Theater, but they seem to be more likeThe chorus in a melody exists to surround the main line.In the play, the intellectuals represented by Xiao Jianqiu and the revolutionary righteous men symbolized by Mr. Li are working tirelessly to find an answer. As for the answer itself, the creator of this play gave usAn unobvious message-the ultimate meaning of revolution may be the enlightenment and emancipation of women. They have created life, but they have been trampled on by the created life for a long time.In fact, Li Liuyi’s “February” does not only rely on Rou Shi’s original novel text of the same name, it even looms with the shadow of another Rou Shi’s work “The Mother of Slaves”.Beyond the history of history or wild history-there is never a woman’s name in the history of history, and the most in the history of wild history is the description of the misfortune of red face and misfortune and the concubine-the ordinary and vague faces living in the small town of Jiangnan, but they have been responsible for China for hundreds of yearsAgainst the background of patriarchy, a woman who suppresses suffering makes a cry of mourning.”February” stills.The central character of the movie “Early Spring February” is Xiao Jianqiu, an intellectual who played by Sun Daolin. His people had the same name as before, gentle and weak, with a hint of poetic poetry like the fall of the ancient Chinese wind.In Xiao Jianqiu’s body, we can see the shadows of Rou Shi himself and even his friends, classmates and partners. He almost includes the typical elements of intellectuals of that era: gowns, scarves, poetry collections, pianos . all covered withImproving the unrequited atmosphere of reformation and aspirations, to magnify, the “incomplete” revolutionary and modernity are concentrated in him, although Xiao Jianqiu was tired of the intensification of variousisms, but it was not the direction of China ‘s future path.Still confused.As the film is centered on the protagonist’s expression, the big theater version of February directed by Li Liuyi belongs to women-its absolute core is the heroine Tao Lan, a transparent, intelligent, in a low-pressure rotation ,,Still a woman who is constantly expressing her desires, she disdains to please men, and does not want to be trapped between the bed and the stove-just like her ancestors and sisters of her generation for thousands of years.The encounter with Xiao Jianqiu is more like a trigger point, which makes Tao Lan burst out more thoughts about the future or revolution, and when the plot overlaps in large sections of their large stream of consciousness, the lines of emotions highlight the overlapping of emotional linesIn China, the alliance between Tao Lan and Xiao Jianqiu based on common ideals and insights collapsed, and the power of Wensao began to appear.In the second half of the play, Wensao’s child died.A child died silently.At the same time, a strange peasant woman started struggling to rest on stage, she gasped and clenched her fists, and Wensao mourned her dead child aside, her life and death proceeded in silence and violence.”February” stills.At this moment you can’t help but ask, did the coming of the dead life experience the violent struggle of his mother like this?And what are the mothers and children who have experienced all this waiting for them in this world?Is it cold, is it drought, is it a joke about orphans and widows, or is it the indifference that seems to be behind care?Afterwards, Wensao committed suicide, and a heavy snow fell down. Tao Lan put a coat on her dead Wensao, and her bright red cloak suddenly and suddenly dazzled against a dark background.Needless to say, this scene is the climax of the whole drama.The stage space and time before this is an environment that was deliberately depressed. The barren colors, barren rain and snowflakes, drifting in the barren world, they all seem to have been waiting, brewing, just for the momentCondensed into a huge emotion, which diffused from the depths of the stage to all directions.Tao Lan and Wensao tried to convey to us a power of understanding between women of different classes. Tao Lan, as a wealthy squire family and a newly educated female, transformed the indifference of Wensao from the beginningFor deep sympathy; Wensao, from the pale woman who only murmured “my husband died” in a ghostly tone, to the end of her helpless struggle with death.The two women, one in a white robe and one in a red dress, together became a tragic alliance about the community of women’s destiny.Li Liuyi has always been a creator dedicated to paying tribute to the poetic expression of traditional Chinese literature and art. His drama works often carry drama-like infinitely extended time and space and flexible expressions of zooming in or out, and in this “February”Often, there are also casual pens that seem to be inadvertently light in ink, but they are also in the rendering of meaningful lines, and they point out the meaning of “do n’t have the sadness and the hatred”.Xiao Jianqiu, a cousin of Xiao Jian who had been taken away with some money, was a woman with a more vague look than Wensao. We only knew that she was Xiao ‘s patron, and died when he was about to graduate.-Even Xiao Xiaoqiu, who has a very goodwill and respect for women, his future is unconsciously running on the front of a silent woman, not to mention the big ones who gnaw at the flesh of womenmost?From the time of “February”, 90 years have passed, has Tao Lan, Xiao Jianqiu, or Rou Shi all desperately imagined every change that really changed something?Did the intellectuals who walked alone in the white smoke and the depressed women finally figured out the direction?On the stage at the beginning of 2020, the former seemed to be still wandering, and finally another cry like a wailing cry.□ Wen Tianyi (Critic) Sauna Night Editor Wu Longzhen proofreading Li Shihui