movie "Farewell My Concubine", the actor Cheng Dieyi, I think he is a vulgar person, always keeping a distance from reality. When he was young, when the children of the science class were in a group to discuss his favorite Beijing-style delicacies, he stood alone, looking up at the sky with clear eyes. In fact, a poor person like him is more like coming out of a period of drama.
Perhaps it is because he intentionally or unintentionally keeps the distance from reality that he is so drowned in the Beijing opera. He is a persistent person. When he was studying drama, he kept in mind his teacher training from one to the end, and endured almost cruel basic skills training such as tearing his legs and stepping on stilts. After he became an actor, he has been looking for his dreams on the stage, whether it is with the overlord. He persevered as soon as his goodbye, or the single concubine was drunk.
However, this kind of persistence also continued to his feelings. It was the years when he shared the same bed with Xiaolou, or when he was robbed of love by Juxian Hengdao, and all his thoughts were lost, or when the people of that era betrayed their relatives and left, he was deeply attached to Duan Xiaolou. He is a narcissistic, self-conscious person. There is such a description in the novel. He looked at himself in the mirror with a seven-pointed face. It was so beautiful and so beautiful. He doesn't think so much about himself in the unexpected world. The lights dimmed, and the audience couldn't see the actors on the stage. He wielded himself, waving his sleeves, spinning, a fish lying on the car body, and fell to the ground drunk. This aspect illustrates his intoxication of art.
On the other hand, it also reflects his appreciation of his exquisite and beautiful self like a work of art. Perhaps his own acting experience and satisfaction are the most important thing. What the audience thinks, let him! I think Duan Xiaolou is a typical representative of people in the world. He has a humane warmth. When he was young, he helped Dieyi kick away the overlapping bricks. When he grew up, he sought out Yuan Siye to save his strange brother.
Actually, this kind of emotion is real but not strong. It doesn't have the dreamlike drama of Die Yi. It is plain and plain. It is the color of the world that has erased the powder. At the same time, because he is immersed in the world, he will abandon others to protect his own interests. These typical characteristics are so vivid in his body.
and Juxian is undoubtedly an existence recognized by the author. She is the representative of the new woman. She bravely broke through the world’s definition of this poor woman, regarded dignity higher than money, and flatly rejected the unreasonable behavior of the rich and the young in mouth-to-mouth drinking and drinking; she dreamed of and dared to fight for a new life, Xiaolou Wuxin said that today is not Whether we set a happy date for the two of us is enough for her to be an opportunity to step out of the house. She was decisive and sturdy, first facing the bachelor's reckless account, took out the broom to drive them out of the house; then faced the threat of the young general, unyielding, and reappearing the charm of the past in the misty twilight years.
And at the same time, she has another side. She is a soft woman, she has the plain wish of "getting two at once, enough"; what she has is the motherhood of Dieyi who hugged him when he was in pain and helpless when quitting smoking; she has, It is the love and cherish the beauty who wears the scarlet wedding gown to die. This collision of rigidity and softness gave Juxian an absolute charm, which made this character admirable and pitiful. From the main point of view: The author is thinking about the distance between people and the play, thinking about the difference between reality and illusion, and at the same time, thinking about the ups and downs we have come along in a specific era. The author, a Hong Kong native, is probably also wondering what life will be like in the future. Doubts about the unknown often turn into fear, so the author thinks of an unbearable past. This timidity can also be seen in the "1997" code in the author's "Rouge Kou". Fear of being deprived of freedom and eliminating culture.
