The 13th China Art Festival Special | Review of the Tin Drama "Candlelight Before"

Heroes' Light illuminates the revolutionary range

——Review of the triple observation of the tin drama "Candle Light"

Sumier Zhong Chengxiang

Heroes are a glittering coordinates of the nation. The large -scale revolutionary historical theme of the tin drama "Candlelight is in the front", based on the real deeds of the revolutionary hero of the Chinese Communist Party, one of the early leaders of the Communist Party of China, as the prototype of the revolutionary hero, through the "cut letter", "wedge", "discussion", "throwing", "candlelight" " The narrative structure of four % off one wedge "retrospectively traced Zhang Tailei's hero's life with a unique narrative perspective and the aesthetic form of tin drama. The candlelight "shines on the hero's deeds.

First of all, the tin drama "Candlelight is in front" upholds the historical view of materialism, and realizes the harmony and unity of "historical truth" and "artistic truth".

The reason why this drama not only urged people, and inspiring people for progress is due to the creators adhere to the historical view of materialism, visit the deep history of history, and observe the fascinating historical skills of history. From the shape of the character to the plot weaving, the main creative team strives to unify the unity of "historical truth" and "artistic truth". For example, the family books that carry faith and hope in the first "cut letter" are now treasured at the National Museum of China today; It also stems from historical facts. The choice, processing, and refining of historical materials reflect the moderate aesthetics. This "degree" is that the fictional freedom of creation does not leave the essence of historical edition and the nature of the character. As Luo Zhou said, "Many people said that Luo Zhou's text was good, and the words were gorgeous, but this time I returned to the most simple expression. There are too many real details in the life of the Zhang Tailei family. , Plumbing the flesh and blood of the work. "In the South Anhui Incident, Zhang Tailei and Lu Jinghua's son Zhang Yiyang was unfortunately captured. After the concentration camp was infected with the virus, the enemy seduced his rebellion with special effects drugs. Zhang Yiyang endured the pain. Essence The whole drama hidden the direct presentation of Zhang Yiyang's experience of the Anti -Japanese War, but was completed by the dialogue between his sister Zhang Xilei and Zhang Xiping and Zhang Yiyang's "Painting Voice" in the fourth discount. This fully reflects the creators' aesthetic talents and wisdom of condensing historical materials. In -depth plot, the audience deeply realized that the salary was passed down, and there were people who succeeded. Zhang Yiyang was the second "Zhang Tailei".

The "white" narrative between the third and fourth folds is the aesthetic advantage of condensing and restrained, reality and reality of Chinese opera art. The images of Zhou Enlai and Qu Qiubai, who have never appeared in the play, also appear vivid and shining through the side of the characters in the play. This drama not only shaped the "historical person", but also highlighted the "history of people", unified the historical trend and individual destiny, and the truth and harmony of the truth of history and the truth of art on the square inch of the opera stage.

Secondly, the tin drama "Candlelight is in front" revealed the lofty and unique hero view of the Chinese nation under the view of the historical view of materialism.

Western art also talks about heroes, but often manifested as heroes who fight for personal destiny. From King Oedipus, who fought against the fate of tragedy in ancient Greece to Hamlet, who proposed the proposition of "survival or destruction", to the old man who fought with the sea under the writing of Hemingway, all were the traditions of western heroic narrative. In comparison, the heroic image of contemporary Chinese art often has the national righteousness of the ancient Yue Fei and Wen Tianxiang's "Faithful Reporting the Country" and "Reserving Dan Heart". According to legend, the feelings of homeland; and in socialism with Chinese characteristics, it is filled with the lofty spirit and heroic style of the Chinese Communists who adhere to the communist belief and sacrifice the little family for the country's righteousness. The "Candlelight" of this play is a typical symbol. The work leads us into the depths of history. Countless "Zhang Tailei" and "Qu Qiubai" are like a bouquet of candlelight, while "Zhang Xilei" and "Zhang Yiyang" shone under the candlelight of the parents, and went to the thorns on the thorns. The road of cluster revolution. This kind of powerful will and firm beliefs that have been passed down from generation to generation are an inexhaustible motivation for the Chinese nation that has repeatedly broke the dangerous beaches and turned into danger in history.

If it is said that "Zhang Tailei" is like a candlelight; then the "Lu Jinghua" behind him is the "candle" who moves forward under the leadership of the candlelight. As a female artist, the general director Tong Weiwei and the screenwriter Luo Zhou can always understand the faintness of human nature and humanity with delicate emotions and abundant imagination. Lu Jinghua in the play was originally worried that Zhang Ximei, the second daughter Zhang Ximei, was in danger, so she repeatedly told her eldest daughter: "Look at her!" "Look at her!" "Look at her!" - In a clear comparison with the "three" of the children, the inner emotional tension supports the vivid image of a hero wife and hero mother who can "touch". It is also countless candlelights, countless candles, countless heroes, and countless hero families that have gathered into an indestructible power of a nation, and have also achieved a great nation that generations of heroes and heroes from generation to generation. Furthermore, the tin drama "Candlelight is in the front" consciously shows the spirit of Chinese aesthetics, presenting the historical outlook and heroization of the work on the stage, flowing into the audience's heart.

The play is extremely literary. The beauty of this literature lies in the freshness and nature of "natural carving". The drama reflects the aesthetic expression of the spirit of Chinese aesthetics, the aesthetic expression of the aesthetic expression of both the aesthetic expression and the far -reaching aesthetic existence of the spirit. Even in the drama, Lu Jinghua's unwilling complicated mood when he sent his son to the army, and only when his son went away, he burst into tears. The son of the son could only be engraved in the memory of the mother like the annual wheel. While describing and promoting the literary language, it has created a space scene with its "time art", and aroused the infinite imagination in the audience's mind, and generated the far -reaching artistic conception of "elephant" and "overseas realm".

At the same time, this drama has played the unique beauty of opera. As far as the image creation of the play is concerned, in addition to the deep image of "candlelight", the design of the letter is also very freehand. "This vertical is like you stand up like a pine; this horizontal is like you hurriedly traveling; this stubbornness is like you are frustrated and painful; I have a stroke one by one, and I will chant after thousands of times. "In the play, Lu Jinghua, the core singing section full of rhythm and picture, makes this letter surpass the general attribute of" things "and generates rich connotation with rich connotation. Aesthetic image. This book belongs to each other's affords between the Zhang Tailei couple, which is not only an emotional condensed across time and space, and transcending the boundaries of life and death. It is also a spiritual symbol of the Communist's revolutionary will and illuminate the world with the revolutionary light. The last folding of the drama and the real intersection of dreams and reality, the overlapping of the past and the present, and frequently increase the freehand beauty of works. Zhang Tailei and Lu Jinghua's dialogue through time and space were really cut, and they were angry. The candlelight that the two never extinguished the world also brightened a world, and also made the whole drama reaching the aesthetic to the aesthetic character of the great spirit of revolutionary heroes in the orgasm.

In short, the historical view, heroic view and aesthetic view of the tin drama "Candlelight in the front" are like three solid pillars, which supports this drama with the value of heroic epic and the value of the times. The main creation team of the play has not only enriched the outstanding Chinese opera treasure house, but also achieved the successful integration of revolutionary historical themes and tin opera. Excellent literary and artistic works are also like a candlelight that never goes off, illuminating the creative path of the latecomers. Today, the second century -old journey of the party and the people, those heroes engraved in the history of the History of the Chinese Revolutionary Heroes and their outstanding art works that have passed on their statues will also illuminate our hard work. road!

(The author Sumier is a lecturer at the School of Journalism and Communication of the Central University for Nationalities, Zhong Chengxiang is a famous literary critic and vice chairman of the Chinese Federation of Literature and Art.)

▲ Performance of the grass -roots performance of the tin drama "Candlelight in the front"

Return to the most simple and true expression

——Review of the tin drama "Candle Light in front"

Xu Jian

The tin drama "Candlelight is in the front" is based on one of the early leaders of the Communist Party of China, Zhang Tai Lei's wife, Lu Jinghua, children and family life as the focus of the focus. With the farewell of this family as the main plot basis, the "candlelight" is very symbolic. The literary imagery has completed the traceability and pursuit of revolutionary ideals and faith. The whole drama does not have the great achievements of the party's early leaders, and does not directly express the formation process of faith, the generosity of defending faith, but from the unique perspective of the revolutionary cause, the lofty ideals to the family, the inheritance of faith, the inheritance of faith, the inheritance of faith, and the inheritance of faith, and The fiery fire continued, showing selflessness in the micro, exuding human light in the affection, and completing a chic and exquisite innovation expression of the creation of red themes.

The play shaped a female image with a triple identity of his wife, mother, and daughter -in -law. Among them, his mother's identity became Lu Jinghua's most distinctive image logo. Compared with the image of a mother with similar themes, Lu Jinghua did not directly participate in the torrent of the revolution, nor did she have done any great great cause. Her biggest hope is that children have no disease and disaster, growing up, and growing up. , Waiting for the day when you are doing everything. But the creator is to portray such an ordinary and true mother. In her difficult and poor life normal and the little -known emotional source, it has opened a brilliance of an outstanding Communist Party member who has the world and sacrifice everything for faith. Life. The ideal and beliefs of the revolution, infection in daily life and emotions, leading everyone to go forward, bravely move forward, and gather into magnificent spiritual power. All of this was displayed in the four times with "separation" and "cutting", "discussion", and "throwing", such as Lu Jinghua, Zhang Tailei and their children four times. The story of Zhang Ximei, the second daughter, started in the first fold "Cutting Benefits" and "One Farewell". Seeing the time of fleeing urgency, Zhang Ximei's determination to devote himself to the anti -Japanese rescue has been determined. As a mother, Lu Jinghua took out the book written to her 16 years ago in Zhang Tailei. Horizontal leaning, bringing out the image of the revolutionary image of Zhang Tailei's "Angle Rusong" and "Sword Fighting the Sky". The name that spliced ​​again was metaphorical of the deep emotions of the couple's "strong affection". In the next "one" plot, Lu Jinghua hoped that the second daughter would go to Shanghai to pursue the footprint of "father". In the transmission and doubts of the children's letters, she shouted her husband and children's father's name "Zhang Tailei". Although it is a "coffee", the "candlelight" was summoned, the "ideal" was re -ignited, and the "emotion" was released. Let us see a group of revolutionary images of forgetting the truth of saving the country and saving the people, as well as their faithful work, and their opposite to the bottom. The driving and encouragement of the first generation. In the plot of the second discount, Zhang Xiping, the eldest daughter Zhang Xiping, had the idea of ​​going to Yan'an under the call of her sister's letter. In the face of the "impulse" of the eldest daughter, Lu Jinghua used the folklore of Changzhou, the "pickled radish", borrowing things and reasoning, and the "three steps" of pickled radish, showing the "bruises in suffering" when they were suffering. Who can escape all over the body "," dry tears without working hard "when suffering," bitterness and slow boil "when they surpass the suffering, and finally passed out Lu Jinghua's" boil and tolerance. "At the time of" "Destiny. The emotional drama between mother and daughter seemed to say each other. In fact, the suffering of a woman and the exception to suffering. And all this is because of the "candlelight" in my heart, so I have the will to defeat all the hardships and suffering of life. The suffering made a person's mind mature. Zhang Xiping finally chose to go home and determined to "let me take the road of Mom", so that Lu Jinghua's dedication was grateful and returned.

The third fold "throwing clothes" will be expressed by the mother and son to complete the emotional expression of sacrificing and feats of the revolutionaries. In order to go to Yan'an, the younger son Zhang Yiyang hid his mother on board the boat. At this time, Lu Jinghua came to find his son and talked about the drama. The farewellness hidden between the two is sincere and touching. When Lu Jinghua and Liu Smeng recalled Zhang Tailei's sacrifice, farewell to her loved ones, Lu Jinghua's tangles, pain and reluctance to support and expect Zhang Yiyang, and Zhang Yiyang was also in the sacrifice of his father Zhang Tailei. From nothing to complaining "," the toughness of sour shoulders ", drawing the power of moving forward. When Lu Jinghua returned with his baggage, his son's boat had already opened. A simple action of "throwing clothes" not only completes the inheritance of the father and the next generation of revolutionary salary, but also in the hopes of "must not have a little bit of bitterness, change that kind of happiness", and complete the image of the mother's image. Emotional Acura and humanity praise.

The fourth "candlelight", learned that Zhang Yiyang's sacrifice of the news, Lu Jinghua, called his son's name sadly, and "returned to" the old house before Yiyang's birth. Among the time and space tracers of the real and dreams, the most important parting of the whole drama — the parting of Zhang Tailei and Lu Jinghua presented to the audience in a backlifle. This is not a simple retention. In the face of the cruel reality struggle, the two reluctantly complained each other. Lu Jinghua, the wife of the revolutionary, understands and supports her husband without hesitation under the multiple pressures of material, spirit, and emotion; A simple question, Zhang Tailei used Qu Qiubai's mother's no money into the soil, and exhausted the cruelty of life and the cruelty of society. There is no desperate mother, no tragedy like his mother "-The is the most simple and true expression of the goal of the Communist Party of China; this is not a simple difference. It is the revolutionary optimism spirit of Zhang Tailei "when it is extremely cold, and spring is here; at the end of the night, the sky is on", and the hope of Lu Jinghua's hope for the child and the future life.

The drama "four % off and one wedge", although the narrative techniques are diverse, the expression of internal intentions and images runs through and echo each other. Luo Zhou will connect the most simple affection, the most heavy suffering, the most kind of human nature and the people's feelings of the revolutionaries, and use the touching image of peaceful and ordinary to settle the lofty soul of the revolutionary, and root the theme of faith in the theme of faith on the theme of faith in The most simple "world sentiment" and the truth of human nature are a commendable innovation of red theme creations. It is also because of such a determination and conception that the image of Lu Jinghua shaped by the play has a real, true and moving foundation. The play does not win with the legendary plot, nor does it pursue the narrative effect of suspense, but the emphasis on the layers of emotions and the progress of emotions. The aesthetic purpose is returned. For example, "Family Book", as an important revolutionary heritage, runs through the whole drama, from the beginning of the opening of "a paddling of yellow paper" to "Wen Er Nianxin Tears", and then the children have stepped on the revolution under the influence of the family book. The road, until the end Zhang Tailei reads "Find our forever happiness in the future, how happy and happy this is", family books have become the core of the fate of Lu Jinghua and their children, but also from the perspective of daily life. Let a lofty and great heart echo on ordinary people. For another example, the repeated "candlelight" in the play is not only the light that dispels the darkness of reality, but also the spirit and belief of the candlelight. Although "Candlelight" has no special features in the plot narrative, from "home book" to "pocket watch", from Zhang Xilei's search to Zhang Yiyang to the battlefield, especially Lu Jinghua for more than ten years, under suffering, rubbing, and pressing. Always suffering from the belief of hardships, the load, never give up, and never give up, and you can feel that "candlelight" is shining on everyone's choice and changing everyone's destiny.

▲ Sun Wei, the role of Lu Jinghua

▲ Zhang Tailei's actor Zhou Dongliang

The performance of several main characters in the tin drama "Candlelight in the front" is delicate and emotional, and the singing skills are solid, especially Lu Jinghua's actor Sun Wei and Zhang Tailei's actor Zhou Dongliang. The former is introverted, but the heart is rich and strong. The discussion not only shows the diligent and good virtue of traditional women, but also reflects the modern character of the general and Mingyi. The image of a mother with suffering and tough and unyielding mothers presents the score, sincere, sincere, and heartbroken; the latter's reluctance behind the reluctance is the ambition of the courage to renovate the old world and build a new world. The loyalty, ideal responsibility, and strong perseverance of the early Communists' beliefs were deductible, vibrant, and fleshy.

The small "candlelight" illuminates the spirit of her and her children, and has also become a testimony of the Communist's original mission. Looking forward to this motivation and courage that "candlelight" lit by faith and life can give more people forward.

(The author is the director and deputy editor of the news department of the Literature and Art News)

(In addition to the signatures, the pictures in the text are all cosmetics of the tin drama "Candlelight in the front".

August 31, 2022 "China Culture News"

Published on the 5th-32th version of the 13th China Art Festival special issue

Among them, the 10th edition published

"The Light of the Heroes Shows the Revolutionary Slot -the Tri Observation of the Tin Drama" Candle Light in front ",

"Returning to the most simple and true expression -evaluating the tin drama" Candlelight is in front ""

↓ ↓ ↓ ↓ ↓ according to

Editor -in -chief: Chen Xiaoyue

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