Chapter 31 Three "Our Jing Ke" is a play that deconstructs chivalry

Question: After watching the play, what kind of feelings do you have, for example, are there any surprises or regrets? A: When watching a play, I sit in the last row, watching the performance on the stage, and listening to the whispers and reactions of the audience.I was apprehensive and full of anticipation.I feel that the crew performed the script very well, beyond my imagination.They turned words into lively characters.They turned flat characters into characters with distinct personalities.Needless to say, the main characters, the secondary characters, like Tian Guang, Gou Tu, Gao Jianli, Qin Wuyang, and Prince Dan, all became "this one", which surprised me the most.The part that I was most worried about, for example, when Gao Jianli and Yan Ji told the story of the knights in history, the lines were very long and very literary, and I worried that the audience would be distracted, but now it is paired with Gou Tu and Qin Wuyang's comical antics, which is very brilliant.The stage design is simple and simple, with great ingenuity.But the characters are all in regular script, no, the characters at that time should be in seal script, right?This is an opinion from a friend of mine.In addition, the pool of water on the stage is also superfluous.

Question: How did you come up with the idea of ​​explaining what Jing Ke did in such a way?Is there any connection between the generation of this idea and your own experience or thinking? Answer: In 2003, the leaders of the Air Force Repertory Troupe approached me and asked me to help them revise a script about Jing Ke's assassination of Qin Dynasty.I read this script and felt that something was wrong with my train of thought.The script is still a so-called historical drama, although there are many dramatic imaginations in the story. For example, he designed a scene in which Jing Ke meets the King of Qin who is visiting privately in a micro-service in a tavern in Xianyang, the capital of Qin.This kind of design cannot be said to be bad, but one is that it is too far away from "Historical Records", and the other is that it does not involve the hearts of the characters, especially the contradictions and pains in the hearts of the characters.If I want to write, I should not make too many fictional stories, but write to the depths of the characters' souls within the limited storyline provided by "Historical Records".In addition, we are not just interpreters of historical stories, we should let characters transcend history and enter modern times.It also involves the most fundamental issues of human beings: growth and awakening.

Writing plays, writing novels, to the end, is actually writing about myself.Either measure the belly of a villain with the heart of a gentleman, or measure the belly of a gentleman with the heart of a villain. Question: After reading yours, it reminds me of "The Orphan of Zhao" directed by Chen Kaige. It seems to me that everyone is not willing to believe that such a person existed. What do you think of this problem? ? A: I think we should not doubt the existence of such characters, just like we should not doubt the existence of true love.But when such characters are written, they often appear fake, because they are too far away from our own lives.Now there are people who risk their lives for their beliefs.But such people can sometimes promote the progress of history, and sometimes become anti-human beings.We should not blindly praise the so-called "chivalry", this kind of thing has a lot of negativity.therefore.My play can also be regarded as a play that deconstructs chivalry.It is to raise the realm of man from the level of chivalry one step higher.

Question: In the play, what Jing Ke did and thought is not enough to be famous in history, so what is the driving force behind your creation of this play?In other words, what do you want to express in this Jing Ke you wrote? Answer: I have said many times that when writing about people's growth and awareness, they also write about people's predicament and helplessness. Question: In the play, the main characters such as Gao Jianli and Jing Ke have been focusing on a topic of "fame". In your opinion, what does "fame" mean to a person? What is the relationship between "fame" and his beliefs and pursuits?

Answer: Jing Ke was the same as Gao Jianli and others at first, but he became enlightened later.Awakened, but there is no way out, and there is no way out.The arrow is on the string and has to be fired.There are actually two outlooks on life fighting here, one is actively engaged in the world, and the other is passively avoiding the world.In fact, the literati of the old era were wandering between these two paths.Human incompleteness is manifested in this place.Jing Ke's killing of Yan Ji was a sign of his incompleteness; Yi Shuibian's hesitation was also a sign of his incompleteness.He knew that a real "superior" would not try to assassinate Qin, nor would he learn from the legendary Xi Shi and Fan Li. What should the "superior" do?he does not know.It can be said that he has no choice but embarked on the road of no return to assassinate Qin.

Question: On the promotional page of this play, you said in "Screenwriter's Words": "These characters are all people and ourselves. Our criticism of others must be based on self-criticism." Why is this self-criticism Borrowing Jing Ke's story, what do the "we" you refer to have in common with Jing Ke? A: This passage is not only suitable for this play, but also for my latest novel.In my opinion, the history of a writer is also a history of self-knowledge. If you can’t analyze yourself clearly, then it’s impossible to know the characters in your works.Only by daring to reveal the darkest part of one's heart can one correctly understand evil and good.Only when we realize that we are also sinners can we have a broad and compassionate heart.

Q: You said in an interview earlier, ""Historical Records" is more like the current reportage. Many historical events it presents are very legendary. Some stories can be regarded as novels." In your opinion, how should we view the so-called "history"? Answer: We have always read "Historical Records" as a letter of history, but in fact, in this book, there are many elements of Sima Qian's imagination.What he wrote was also the history in his own heart.His love and dislike of historical figures also affected his true record of history.When I wrote "Red Sorghum", I realized that history is actually a legend, because the original history was passed on by word of mouth, and when people told history, they all used their imaginations, embellished, exaggerated and deified.I am still alive and kicking, but in my hometown, someone has already "deified" me. For example, I have a photographic memory and say that I can recite "Xinhua Dictionary". In fact, my memory is very poor.Therefore, I propose to treat history as literature.

Question: In your opinion, for today's "us", apart from fame and wealth, how much ideals and beliefs remain, and what role do you play? Answer: Everyone has the desire for fame and wealth, and it also has a positive role in promoting social development and progress, but it is obviously superficial to regard this as the highest pursuit.People always have to believe in something, and the ultimate purpose of so-called belief is to make people better.And only by making yourself better first can you make everyone better. Question: China's "Xiaxia Culture" is an extremely important part of Chinese traditional culture, do you agree?Or is it made up by people for some kind of spiritual need?

Answer: The main source of chivalrous culture is "Historical Records", and later martial arts novels made it widely spread.Punishing evil and promoting good, eliminating violence and bringing peace to the good advocated by this culture should have progressive significance, but chivalry and the law often have confrontational conflicts, and the spirit of chivalry has many parts that do not conform to modern society, so it should be criticized.Criticism is not total negation.