“There is a river on the top of the mountain, and the Qingjiang River flows out of the Dragon Boat Song. Where does the song go with the sun bird? It gets into my brother’s nest…” Recently, the poverty alleviation musical “Sun Shines Into the Mountain Nest” was staged in Beijing. This work is based on the true story of Enshi Tujia and Miao Autonomous Prefecture’s poverty alleviation “Sharp Swordsmen”, and tells a story from the countryside in a rustic art form, showing the epic and profound changes of the countryside China in the new era.
As a touching and excellent work, “The Sun Shines Into the Mountain Nest” is remarkable. In my opinion, the most affirmative feature of this work is the creator’s in-depth exploration of the connotation of the theme of poverty alleviation, and its concentrated expression is the creation of the character image of Tian Gensheng. According to the setting of the plot, Tian Gensheng is a 46-year-old farmer in Enshi, who worked as a foreman in the city, and returned to his hometown due to illness. At the beginning, Tian Gensheng is a solid “second-rate” image. As the plot progresses, he becomes self-reliant and self-reliant, a person who is full of hope for life and gives people hope.
Tian Gensheng is the protagonist of the play and the “axis” of the play. The whole content of the play is actually developed around this axis. I think this is a kind of out-of-the-box and self-inherited treatment. As a poverty alleviation drama, the creator has portrayed the image of the “poverty alleviation sharp knife squad”, that is, a number of poverty alleviation cadres. However, the target of poverty alleviation has been subtly pushed to the foreground. All the dramas are always tied to Tian Gensheng. This work is based on Tian Gensheng’s transformation to write the poverty alleviation performance of the “Poverty Alleviation Sharp Knife Class”, and then write the value of poverty alleviation. This way of writing further demonstrates the effectiveness of poverty alleviation, and thus has stronger persuasive power. In today’s many poverty alleviation works, it should be said that this is a kind of out-of-the-box treatment, which is refreshing.
The transformation of “Tian Gensheng” is reminiscent of the story of “reconstructing second-rate sons” in the history of literature and art. In fact, in the revolutionary literature and art tradition since Yan’an, “remove the second-liuzi” has the motif meaning. Wang Shikuo’s coloring woodcut “Reconstruct Erliuzi” or Yangko opera “Reconstruct Erliuzi” have become unforgettable works in the history of modern literature and art. The Yan’an period literary and artistic works express “err-liuzi”, the purpose is not to vilify or criticize “erliuzi”, but to show the transformation of “erliuzi”, in the words of critics at the time, “labor makes people turn from ghosts into humans”. These literary and artistic works during the Yan’an period are not only a reflection of historical truth, but also guide and help more “errands” to live upright and upright like people. A few decades later, we can still feel the profound humanitarian spirit in these works that have become history again.
The most profound historical change is the change of people, the change of people’s hearts. This is also the most essential connotation of the theme of “reconstructing Erliuzi”. In this sense, the image of “The Sun Shines into the Nest of the Mountain” and “Tian Gensheng” continue the tradition of Yan’an literature and art. Poverty alleviation must first raise the ambition, and only then can the aspiration be uprooted. The “miracle” of human poverty reduction that has occurred on the land of China is not only a series of economic indicators, but also spiritual enrichment and humanity. It is the humanitarianism that shines in the transformation of many “Tian Gensheng”. Great brilliance.
In the works, there are many accusations against “poor”. Poverty forced Li Fenglan to commit herself to an old man who had no emotional foundation, and lost her true beloved Tian Gensheng. Poverty made Tian Gensheng, a seven-foot man, “preferring to endure bitterness and being ridiculed by others,” became a “dignified man” and lost his dignity as a human being. Poverty forced Yaomei to dress like a beggar every day, killing the “flowering dream” of the young girl in the season. Whether it’s Li Fenglan’s lament, Yaomei’s grievances, or Tian Gensheng’s self-blame, they all arouse the emotional resonance of the audience. They promote Tian Gensheng’s transformation process from different sides, making this image more contagious, and letting people realize that poverty alleviation is not only To solve material poverty is to solve spiritual poverty. It is to transform the objective world and the subjective world. It is to protect the lives of the people, and it is to protect the world and the hearts of the people. I think that if we sum up experience and polish in the subsequent performances, “Tian Gensheng” is entirely possible to become a classic image of poverty alleviation drama, and it will be permanent on the contemporary Chinese art stage.
When we grasp the axis of “Tian Gensheng” and watch “The Sun Shines into the Nest of a Mountain”, it is like appreciating a traditional hand scroll of calligraphy and painting, slowly unfolding, and the scene gradually emerges. As soon as he appeared on the stage, the second-liuzi headed by Tian Gensheng competed to “compared to the poor” in order to win the index of a poor household. The treatment of the hot opening allows the audience to quickly enter the plot. Following this logic, the following story revolves around Tian Gensheng’s “matching wits and courage” with poverty alleviation cadres, and Tian Gensheng’s character image gradually becomes fuller. And this process is accompanied by a large number of “continuations”, presenting a narrative form in which one story leads to another. In the scene of “Finding the Bottom”, Tian Gensheng and Li Fenglan’s private talks are used to explain his character history. It turns out that Tian Gensheng, under the appearance of a “second-liu son”, is a man of sentiment, righteousness and ability. Next, the grandmother took the IOU left by He Long’s army to tell a story about revolutionaries, so we know that Tian Gen grew up in the family environment and has a glorious history of supporting the revolution. These fragments laid the foundation for Tian Gensheng’s transformation without a trace.
At the same time, this work on the theme of poverty alleviation has constructed a vast and rich “vision” beyond poverty alleviation. Through the three or five characters on the stage, we seem to have seen the revolutionary era, “Just listen to the footboards, but no one’s voice. Don’t be afraid, this is He Longjun…” This is the fish and water of the people’s army and the common people. Love; we also seem to see Tian Gensheng leading the folks to leave their homes to work in big cities, and experience the hardships of ordinary builders in society. With these “visions” set off, the “close-up” of poverty alleviation has become clearer. I think this kind of treatment enriches the connotation of the work. The creators did not talk about poverty alleviation in terms of poverty alleviation, nor did they interpret poverty alleviation themes in the sense of social assistance and moral sentiment, but used stage art to show “poverty alleviation” as a social and historical process, and made it clear why poverty alleviation was necessary. The fundamental reason why poverty alleviation can be successful, thus expressing the institutional strength and historical inevitability of poverty alleviation and its success.
From the perspective of excellence, there is room for improvement in this work. In terms of details, the plot also has a sense of miscellaneous burrs. For example, the grandmother’s design for tearing up the Red Army’s evidence of evidence shows grandmother’s “hate for Tian Gensheng”, but it seems to be too intense. IOUs are the remains of revolutionary history. It would be more meaningful if they were donated to local museums or used as “heirlooms” displayed in Tian Gensheng Farmhouse. For another example, Li Fenglan was unable to go with Tian Gensheng because of the child of an old man, and Xiao Jinshan, the leader of the “Sharp Sword Class”, sighed about the “difficulties” of poverty alleviation cadres. This is because the roots of Tian Gensheng and Li Fenglan’s tragedy are in a poor word, just click on it. And all the hard work and value of poverty alleviation cadres have been completely reflected in the “Tian Gensheng Transformation Record”, direct complaints and confession, on the contrary, it damages the artistic quality of the works. From the perspective of the artistic form of musical drama, although the works absorb and show the elements of Enshi playing, rolling dragons, dancing with hands, folk minors, etc., it highlights the beauty of human nature with national customs, but it is more rich than Enshi. As far as the treasure house of national folk literature is concerned, the existing excavations include the use of dialects, especially the harmony between these elements and themes is not enough. If more such elements are added, such as giving Tian Gensheng more opportunities to show his “talent”, Adding more “Enshi Taste” sing dances will not only help to shape the characters, but also make the inner emotions more intuitive and appreciative, thus making the whole play more attractive.
Of course, a few flaws did not prevent “The Sun Shining Into the Mountain Nest” from presenting the splendor of the times with the splendid stage, focusing on the spirit of art with the spirit of the times, and reflecting the great social transformation and its immortal achievements with the vivid shaping of a character. It also provides valuable experience and reference for artistic creation of the same subject.
Responsible editor: Wu MinReturn to Sohu to see more
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