Watching a play
○叶君健
The time was eight o'clock in the evening. The sun has long since set, but the heat has not collected. There is no wind, and the old trees standing in the park are silent. The leaves of the trees are also quiet. The open-air theater of labor is also quiet.
But the theater is not empty. On the contrary, it is very crowded. There were people in every corner, even on the stone steps of the aisle: workers, shopkeepers, craftsmen, cadres, students, and even peasants from the outskirts of the city - in a word, the working people of our capital. Looking from the front row to the back, it was like a sea of people. The heat they emit and the air of the heat condensed together, covered in this sea of people above like a layer of smoke. Smoke does not dissipate, the sea is holding its breath.
The curtain on the stage parted, the music played, the actors stepped to the beat of the music, with a solemn and rhythmic step to the front of the footlights to come. The lights shot on their colorful silk embroidery and headdresses, stirring up a golden haze of color. A mirage suddenly appeared on this misty sea. There were songs and dances; sorrows and joys and separations; loyalties and treacheries; resolutions and misgivings; ecumenical sacrifices and selfish personal intentions. But what dominates all this is a piece of loyalty and passion for the country and the people. This passion is concentrated, specific in Mu Guiying body manifested.
When the heroine walked out with a light and athletic step, the calm sea swelled up, and a storm rolled up above it, and the audience applauded the heroine as if she was electrified. She began to sing. Her mellow voice trembled in the night air, sounding distant yet approaching, soft yet resonant. Lyrics like beads from her smile and knit brows, from her elegant "sleeve", from her graceful body, one grain by one grain rolled down, dripping on the ground, splashing into the air, into the heart of each person, causing a far-reaching echo. This echo was inaudible, but it drowned out the surge of wild applause that had just risen.
The audience, as if possessed, suddenly became silent.
They were mesmerized. Their thoughts and feelings mingled with those of the heroine on the stage. With the development of the plot, the heroine's song and dance gradually entered the climax. The audience's emotions also gradually entered the climax. The tide is rising. No one can control it. This once calm sea of people suddenly swells up again. It is at this point that the play reaches its zenith. It is at this point that our heroine is like a blooming flower, and the audience wants to hold it in their hands and not let it fade away. They all got up from their seats in unison, literally like a tidal wave, and rushed to our artist. The audience mingled with him. The stage had lost its boundaries; the entire theater was one huge stage.
Who is our artist? He is Comrade Mei Lanfang. After half a century of stage life, and now at the age of 66, it is a miracle that he is still able to create such vibrant and beautiful images, and still expresses such abundant youthful vigor. This kind of miracle can only be produced in our country - because we have such enthusiastic audiences and such enthusiastic artists.
The critique describes the situation on the stage and the performance of the actors positively, writing directly about the splendor of the performance; at the same time, it describes the reaction of the audience, writing side by side about the splendor of the performance. The combination of the two, equal and complementary.
Seeing a play
○鲁 迅
最惹眼的是站在庄外临河的空地上的一座戏台，模糊在远远的月夜中，和空间几乎分不分分的界限，我疑心画上见过的仙境，就在这里出现了。 At this time the boat went faster, not long, on the stage to show the characters, red and green movement, near the stage of the river a look at the black is to watch the theater of the family's boat canopy.
"Near the stage there is nothing empty, we look at it from afar." A hair said.
This time the boat slowed down, soon arrived, really not close to the stage, we can only get off the Penny, than that is facing the theater of the God shed is farther away. In fact, our white-topped sailing boat, this is also not willing to and crow-topped boat in a place, and the situation is not open space it ......
In the haste of stopping the boat, see the stage there is a black long bearded back with four flags, pinch the lance, and a group of bare shoulders are fighting. Shuangxi said, that is the famous iron head of the old man, can even turn eighty-four somersaults, he personally counted in the day.
We then all crowded on the bow of the boat to see the fight, but the iron head of the old man is not somersaults, only a few bare-chested people flip, flipped for a while, they went in, and then came out of a small Dan to, babbling and singing, double happiness, "the night less visitors, iron head of the old man is also slack, who would be willing to show their skills to the white to see it?" I believe that this is right, because at that time the stage is not very people, the countryside in order to tomorrow's work, can not stay up all night, early to go to bed, sparse standing but a few dozen of the village and the neighboring villages of the loafers. Crow-top boat in the family members of the landlord is certainly in, however, they do not care to watch the play, most of them are special to the stage to eat cakes, fruit and melon seeds. The first time I saw this, I was able to see the whole thing, and I was able to see the whole thing.
However, I don't care to see the somersaults. I am most willing to see a person covered with white cloth, two hands on the head holding a stick-like snake head snake spirit, followed by a yellow cloth coat jumping tiger. But I waited for many hours and did not see, although the little Dan went in, and immediately came out a very old boy. I was a bit tired and asked Guisheng to buy soybean milk. He went there for a moment and came back, saying, "No. The deaf soybean milk seller is also deaf. The deaf man who sells soymilk has also gone back. I even drank two bowls of it during the day. Now go and scoop a ladle of water for you to drink."
I don't drink water, support still look, can't say what I saw, only think the face of the playwrights are gradually some rare, the features gradually not obvious, seems to be melted into a piece of nothing high and low. A few of the younger ones yawned more, and the older ones also managed their own conversations. Suddenly a red-shirted clown was tied to a post, to a white-bearded man with a horsewhip up, and only then everyone was revitalized to laugh and watch. I thought this was really going to be the best twist of the night.
However, the old Dan finally came out. The first time I saw him, I was afraid that he would sit down and sing. I'm not sure if you're going to be able to get a good look at this, but I'm sure you're going to be able to get a good look at this. The old man was just pacing around singing at first, but later he even sat down on a chair in the center. I was worried; but Shuangxi and the others broke into muttered curses. I waited patiently, a lot of work, only to see that the old man will raise his hand, I thought he was going to stand up, but unexpectedly he slowly put down in the same place, still singing. A few people in the boat could not stop breathing, the rest also yawned. Shuangxi finally couldn't stand it, said, afraid that he will sing until dawn is not finished, or we go well. Immediately we all agree, and the boat as enthusiastic, three or four people ran to the stern of the boat, pulled out the Penny, point back a few feet, turn back to the bow of the boat, driving up the yawl, cursing the old Dan, and then to the pine forest forward.
Commented on the description of the stage performance and the description of the audience reaction to start and progress, but the stage performance is written less, the audience reaction is written more.
The same is written to see the theater, why is there a clear difference between the weight of the positive description and the side of the description? In my opinion, there are at least three factors affecting this difference in perspective:
One is based on the characteristics of the object of description. Ye Wen's play is wonderful, splash of ink and colorful direct portrayal can undoubtedly be effective in rendering the object of this infectious characteristics; Lu Wen's play is more boring, disappointing, how when too much direct description?
The second is based on the need for the main idea of the article. Ye Wen's expression of the main idea is to show and marvel at the excellent people's artists, show and marvel at the enthusiasm of the audience (the people), or to eulogize the people's artists and the people's love of fish and water, the artist's wonderful performance of the source from the audience with enthusiasm, the audience to appreciate the enthusiasm for art stems from the artist's superb performances ah, the two depend on each other and reflect each other, so the author of the line of the text has no special bias. Lu Wen's expression of the main purpose is to write the close relationship between the partners of the chastity of interest, watching the play to show this chastity of interest to provide a channel of expression, so the author of the line more in the writing of watching the play "I" and the partners of the various manifestations and reactions.
Third, according to the characteristics of the narrator. The narrator in Ye is an adult audience who walks into the theater to enjoy the play, "he" has a certain level of appreciation and artistic cultivation, so the direct description of the stage and the actors can accurately convey the beauty of their art; Lu Wen's narrator is a small boy, "he" and his buddies more than the "I" and my friends. "and his buddies are more of a spectator (it is not difficult to know from the text "I" expect to see the play), direct representation of the stage and actors, obviously beyond the level of the narrator's level.
It seems that choosing a good angle of description (front and side) is very important!