Qiu Chuyuan: "Deer" tree trunk, branches, leaves, constructing new forests | Shenzhen -Hong Kong book reviews · Writing in Shenzhen

■ Author Qiu Chuyuan

Qiu Chuyuan, an creator who hugs the possibility and yearn for the free highland, is not defined and flows casually. Lu Xiao in "Deer" is also a deer. They pass through the forest, where they go through each tree formed a tree -lined. In terms of Yu Qiu Chuyuan, philosophy is a trunk and drama is a branch. She returned to Shenzhen from overseas to create a leaf on the trunk and branches to build a new forest. Her writing instinct is based on the observation and deepening of "eliminating elsewhere", but Shenzhen provides her aesthetic and thinking way of her literature. Although the life issues passing by and thinking are not easy, she is as light enough, poetic, and creative factors when writing.

▲ Qiu Chuyuan, young writers, screenwriters, game copywriting, Royal Central Central Central Province Speech and Master of Drama Practice of the Academy of Drama, authored the novel "Deer", the drama "Mirror", "4.48" and so on. With "Deer", he won the British National Youth Drama Festival "Special Focus on Youth Artists". The show was staged at the Edinburgh Yisui Festival and won one of Scotland's most important art and culture magazines (the main professional commentator of the Edinburgh Art Festival) The Wee Review of The Wee Review Evaluation: "The script is beautiful and poetic."

The creative path of "Deer" began in the script. It was originally a drama, which is the product of interweaving academic and non -academic fields in my college period.

Because of my creation, I assisted in the workshop where the drama was immersed in the drama during a volunteer in a British drama festival. The person in charge of the workshop is the famous British immersive drama director. In March 2018, in a limited time task, I built and tell the prototype of this story. The director said to me in a deep tone: "You have to write this story."

In the same year, I was written by me and rehearsed on the stage. Even beyond my original idea, I performed in many places in the UK and won many awards to complete its mission on the stage. After the performance, I changed "Deer" from the script to a novel, and began a deeper and deeper exploration about "deer".

Jane: Lin Shenshi saw deer

The novel of this minister mainly covers two themes: one is the meaning of the hometown and the foreign country to me; the other is Alzheimer's disease. The narrative dimension of "Deer" is divided into three layers, and it can also be seen as a triple shadow. They exist parallel, or have a deep entanglement with my 1/4 of my life.

The first layer of shadow is existentialism. My university's main philosophy has selected a lot of existential courses, so that the graduation thesis is also paying attention to existentialism: Is the existentialism drama tragedy? "Deer" is an answer outside my academic field. Thinking and practice tells me that existential drama is another tragedy. Since ancient times, the definition of tragedy in the academic community has been the three -stage type of Aristotle, and it must meet various established elements. But the emergence of existentialism is combined with drama to break this structure and view. Most of the existential works are absurd, no clear structure, and no repetition. Like the Camus "Outsiders" in the "Deer", the protagonist Murdo and the protagonist Lu Xiao in "Deer" have some kind of Follow the sense. They can all feel the sense of isolation and absurdity between people.

This leads to the direct foothold of writing. It bursts out that I often ask but confused for a few seconds after answering: Where are you from? I know that I am from Shenzhen, but because my parents and grandparents come from the north of the world, I always have self -doubts about my identity.

"Deer" was taken from "passing". In our lives, everyone has to pass through different places and cities, so the passing process is my thinking about the development process between my hometown and a foreign country. The Sanshui Town in the novel is the hometown where I want to go back. Lucheng is the second hometown where Liming has passed. This is the past, present, and future in the hearts of the novel characters, and the coordinates are intertwined and defined.

"Deer"

Qiu Chuyuan

China Encyclopedia Publishing House · Knowledge Press

March 2021

If the world sees the statue of the times through individuals, then I believe that the pain I have experienced by myself must be some corners in this society, which is anxious. So the second -level shadow of the novel is concerned about Alzheimer's disease. In the novel, Grandma Lu Xiao suffers from Alzheimer's disease, and her perspective in Lu Xiao must be strong and dare to be the first, but after the illness, she obviously exists and does not exist. Gradually be indifferent and forgotten by the world.

There are often song teams in ancient Greek drama, and songs often run through, building another narrative dimension in a satirical or predicted manner. The third shadow of "Deer" was stringed by a Hakka fairy tale. In the surreal metaphors, in the reality and virtual, the poetic deconstruction of the poetic deconstruction is added.

Ma Yuan said: "When someone asked me, whether the story I wrote was real, I laughed and said nothing, because a story was written by people that it would happen. You think it is true, it is true. "This paragraph can be understood as: the non -fictionalization of fictional narrative, this is my attempt in" Deer ", and also the pursuit.

Branches: The play and outside the play

How did I move from literature to drama, and incorporated both into their pockets? This will start from high school. I studied at Hongling Middle School in high school and was fortunate to participate in the first campus theater festival.

During the intense preparation stage, the head teacher suddenly said to me, "Let's do something different, you come to write the script." At that time, the preparation time was rushing than other classes. In addition, we choose not to have existing classic stories, and it is even more urgent. For a few consecutive nights, I knocked in front of the computer until early in the morning, with "the only privilege for staying up late during the student." On the day of the performance, in the main control room, I saw the actors on the stage said the lines I wrote, showing the world in the pen, which made me realize that the original text could be visualized. Later, this drama performance was limited to the campus stage, and won the "Most Excellent Drama Award". Since then, I have begun to explore the road of drama. It took nearly ten years.

While the university was boring philosophical methodology, it took British drama literature, and read the script locally on Monday. "Deer" was also formed at this time. Until graduate students, I chose the major of theater practice, stretched my thinking in thinking like branches, to form a purely familiar work, and in the short ups and downs of the drama world, I quickly appreciated the earth.

After graduating, I returned to Shenzhen to perform and participated in the drama festival in the city. I found out that the visual expression in the drama was in line with the Shenzhen I perceived. In my eyes, Shenzhen must be Eastern New York. Its texture is a often -looking new contemporary painting, leading the avant -garde discourse system.

I was born in Sri Lanka and went to school overseas. I re -cast back to the embrace of Shenzhen with what I learned. I deeply feel that the aesthetics I created here is unique and full of futuristic. Liu Yizheng said: "Moravia writes Rome, Taimong Lunyang writes New York, Fakina writes southern United States, and Joyce writes Berlin." And I tried to write in Shenzhen in my brain cells and retina. come out. It is a visual puzzle. Every time I come back, it seems like a new puzzle.

▲ One of the posters of "Deer" drama version.

I did not have a complete answer with my deep connection with me. But "Lu Guo" from drama to novels, I constantly think about: Why is a story about a town in southern China, which will attract the attention of foreign friends? Why do foreign audiences cry after watching, or stop communicating in depth with the main creators? Does its kernel have some inevitable connection with the world and the times? Does it have a worldwide resonance inadvertently? This is the necessary thinking of my writer as a writer, starting from Shenzhen, to international, and returning to Shenzhen from international.

Leaf: Technology and interaction

At the graduate stage, multimedia interactive writing is selected. In addition to the theater, the interactive viewing relationship is extended to other spaces, such as games or immersive experiences. This may be a more text creation model that keeps pace with the times. I am curious and willing to explore it.

After returning to China, I performed in various places to let the creative and thoughts of the master's degree reaching the heart of more cities. The first performance brought back to Shenzhen was called "Mirror" and performed in an art space in Shenzhen. In the post -epidemic era, the work of this work rely on the technological medium. In a gyro -like high -speed rotation life, we have not communicated with people face -to -face for a long time, and most of them communicate through the video of electronic equipment. Through repeated testing, I found that when the video call, the people at both ends of the screen had no way to look at it directly. So who are we looking at?

In the work, I pay attention to the interaction and exchanges of "body, technology, and human nature in different media", trying to explore two key problems: how to reflect the relationship between "us" and "our emotions" Intersection How does those communication with others lack real eyesight to change our interactive model?

When the curtain falls, as the performance market sways during the epidemic, I chose to join the technology company to start the game interactive writing journey. The project team and I solidly developed and practiced the creation of the background, characters, plots and subject matter of each story, and put the traditional content into the emerging science and technology medium, and connected to the readers behind the screen. I am a writer who is extremely driven by curiosity. I need to throw out the hottest and most thoughtful thoughts in my mind in various ways to achieve some kind of energy promotion.

When I see the combination of text and technology, the presentation of literature in the science and technology category undoubtedly cultivates the aesthetics of science fiction elements and cutting -edge aesthetics outside my strokes. This innovative city gives me some kind of unrelated, efficient, and eternal characteristics that has been flowing at the tip of the pen.

The summer of the creation of "Deer" is sometimes sometimes. Even early this year, the grandmother in the story flew to another world in real life. I and the characters in the pen and the world, established a sense of true feelings, and cast myself completely, just like on the stage again and again.

Source ｜ Jingbao APP

Edit: Chen Zhangwei

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