Dayu
Drama (in this article specifically refers to stage works), movies, and TV dramas (including online dramas) are all mainstream expressions of literature and art today. In terms of audience base, TV series is undoubtedly the king; but when the topic turns to aesthetics, few people think of using TV series as proof. Congenitally, we endow these three styles with different functions: drama, with its unique sense of presence, is the easiest to realize the dialogue between acting and viewing, and complete the spiritual breakout; the concentrated expression and rich lens language of film make it the most favored by creators. The means of expression, the reading materials that viewers are most likely to fall into; TV dramas, confined to the specific family viewing field formed by the small screen, are always hidden from the label of “work” and become a dispensable accompanying existence and relaxing pastime.
But if someone can endow TV dramas with aesthetic interest, from the perspective of literature and art leading creation and aesthetics, using TV dramas as the medium will get twice the result with half the effort. The web drama “The Long Season”, which was aired not long ago, was delightful to discover such a person and such a possibility. This is a blessing for domestic small-screen creations. The creators’ strong desire to express has been realized one by one in faithfulness to details and pursuit of poetry, and new aesthetic tastes of TV dramas are emerging.
Although the sad romance of immersing broken life stories with poetic sentiment did not start from the drama “Man”, as a conscious pursuit of artistic taste and aesthetic ideals, and can establish it as the aesthetic standard throughout the drama, it must start from “Man”. “Manga” drama lead. The unique taste of Northeast literature, exquisite lens language, meaningful music and songs, and harsh harmony of screen colors show the determination of the creators of “Man” to give up pleasing the audience and turn to invite the audience to deeply participate in thinking about life and destiny.
“Man” is a nearly perfect nostalgic writing. It tells the story of the past, it is the connection between the present and the past, it is the call of every person who has lived to the present for the submerged memory of the past, and it is also a desire to explore the old secrets hidden in the past history. desire. Compared with the depiction of the fate of life, the suspense and murder cases that happened one after another do not dominate the “Man” drama. The sensory stimuli created by the lost track can never resist the real charm of rough life.
Silently set off the truth of bitter life, but still be able to shout loudly to the past: don’t look back, look forward. Wang Xiang, a laid-off train driver in Northeast China, showed the heroism of “recognizing the truth of life and still loving it” like Romain Rolland-this trait can be found in almost every protagonist in the play. This is also the reason why the story “must happen in the Northeast” is the most convincing. The once-prosperous town of Hualin is no longer as noisy as yesterday, but the people here are always on fire. No matter how long the season is, it cannot last longer than the time scale stretched by the silent fate.
Just like the “author’s film” that came out after the war, “Man” is a typical “author’s TV series”, which always permeates the creator’s personal style and aesthetic dimension. For Xin Shuang, the director of “Man”, who is still accumulating works, he can write about the pain of the times and the confusion of the situation, and get rid of the protagonist’s narcissism and hypocritical sentimentality, and always let them be simple, plain, responsible, open and calm, It is infinitely moving and respectful. Wang Xiang, Gong Biao, Ma Desheng, without exception.
“Man” is the theme of human beings, and the consciousness of the text. After experiencing “The Hidden Corner”, it is obvious that Xin Shuang pursues an objective depiction of real life that is almost restored to the extreme in “Man”, and cultivates precious soil for expressing the fate of real and ordinary people. This is very important for the current realism. The creation of TV dramas is a vivid demonstration, which requires all creators (including actors) to achieve it with the help of a highly conscious subjective character. The “consciousness of literature” mentioned here does not refer to literature alone, but respects the creation rules and aesthetic forms of TV drama works themselves. We saw the typical Northeast-style humor in the “Man” drama, read the poem “Snap Your Fingers” with a distinctive literary color, and saw the rational value that the creator gave to the actions of all characters. This is not just at the level of logical organization or language games, but a deep understanding of the essence of TV drama creation-human drama.
The theme of “Man” is not easy. After all, the hammer of countless lives hits a person heavily. Some people fall down, such as Yin Hong; Wang Xiang, who gave up his suicide action; some people seemed to be kept but fell down, such as Gong Biao, who flew into the sky with the winning lottery ticket and died of the joy of life…Compared with grand narratives and historical legends, “Man” has no The work is not speculative, it is pursuing a kind of refined market literature and life prose, “extremely imitating the differences between human feelings and the state of the world, and preparing to write about joys and sorrows”. Although it does not pursue elegance, it radiates a fresh sense of life everywhere, which makes people linger.
Many years later, the “Man” drama will become a long-lasting relic just like the story it tells. Because every era should have new works of its own era, but the aesthetic taste accumulated in the “Man” drama that is frozen on the black soil of Northeast China will start from this season, and it will more or less affect the Chinese audience’s perception of domestic TV drama works. expectations and fantasies.
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责编：张晓荣 ]