"Treasure Island Village" has been in the show for eight years, and I finally got the chance to see you at first sight.
Beijing's drama performance market is really hot. The performance of "Treasure Island Village" is in early July, and it was sold out when I checked the tickets in early June. But in the past one or two years, an experience has been gained: the more tickets are sold out, the more worth finding tickets to watch!
Song Chuyu, Teresa Teng, Brigitte Lin, Joey Wong, Joey Wong, Li Liqun, Wang Weizhong, Jin Shijie, Richie Richie, Jiao Enjun... If you find a similarity for this string of "cultural symbols", it is the "military village".
The so-called "When you are inadvertently planting willows and willows, the prototype of the story of "A Village in Baodao" is the military village. The military village was originally a "temporary" settlement village built by the current situation and had to be forced to do so. The military villagers never thought that the current military village children were already an important symbol of Taiwan's soft power. It can even be said that many people are representatives of today's Chinese culture.
It is said that in the first few years of the performance, Lai Shengchuan wrote in the performance introduction, "This is a story that will most likely disappear immediately if you don't say it." This sentence is no longer seen in the 2016 performance introduction of "Treasure Island Village", because it has become a "stories that everyone wants to know".
On the one hand, the children of military villages are so attractive: Who doesn’t want to see what kind of cultural environment has created Teresa Teng and Brigitte Lin? On the other hand, it is attributed to Lai Shengchuan and Wang Weizhong who used enough effort and enough effort to create such a superior work of such a drama.
This drama is filled with tears in laughter, and before the tears dry, they burst into tears to make a smile.
"Treasure Island Village" tells the life of ordinary people in Zhao, Zhu and Zhou. The three families come from all over the world and come from different cultural backgrounds. They happened to live under the same roof and under the same telephone pole (the Zhao family was the one who squeezed a house under the telephone pole between the two families).
The structure of this drama is very similar to "Teahouse". The stories all take place in the same place (the teahouse and the village of Baodao) and in different eras (the time span is about half a century). But "Teahouse" is a genuine Beijing flavor, while "Treasure Island Village" is a collection of square sounds and local languages. Due to this rich language type and rich cultural background, countless ridiculous and heroic stories have emerged.
Although the men in the play are all citizens with the lowest status and the most ordinary class, the men still have the feelings of giving guidance and discussing the major affairs of the world. The "Current Affairs Debate" gathered under a big tree at the entrance of the village appeared at least four times in the play. The protagonists are men from three families and a neighbor who is in a dialect where he is. Every time when everyone is discussing a topic in a hurry, the neighbor always has to talk big. In the past few times, everyone really gave "right!" and "no!" such "real" reflections made the audience laugh at the men who obviously don't understand and pretend to understand for the sake of face. Until the last time everyone scolded Lee Teng-hui, a "little bastard", to engage in Taiwan independence, the crowd was finally excited, and when they were not careful, they missed the truth about the neighbor's dialect for decades. Lao Zhu finally said to Lao Zhou with a sudden look on his face: Sir, it turns out that you can't understand even after so many years!
(This is the rehearsal scene of the three starring actors Feng Yigang, Song Shaoqing and Qu Zhongheng)
This drama does not shy away from history, allowing people to see a real Taiwan.
I have traveled to Taipei and am deeply moved by the gentle, humble and friendly image of the locals in the streets and alleys. In "A Village in Baodao", children who grew up in a small military village still had to bow when they saw their elders, but they kept talking nonsense: the little boys staged a fight full of hooliganism almost every day, and the graceful girls even smoked and drank, and many "swearing words" in film and television works blurted out.
We will naively think that so many cultural celebrities have emerged from the military village, so the military village people themselves must love it extremely.However, in the play, the second generation of the military village dreams of leaving by boat all day long and leaving this "crowded" home; even the elders also develop personal relationships in the air-raid shelter, "going to the United States" and "leaving here" are the words they often talk about when they meet in a tryst; even there is a "unwritten" rule for self-discrimination in the village: If a girl in the military village wants to have a future, she must get married and not be good with the boys in the neighbor's house!
In the inherent impression of some of us, Taiwan is an excellent example of protecting traditional culture. However, the ending of "Treasure Island Village" is that the military village is about to be demolished, and the government ordered the mottled door numbers in front of the military village to be replaced with high-rise residential buildings with steel and concrete. Fang Wenshan, a talented man I particularly like, once said in a speech at Peking University: The Taiwan government "never thought that those military villages had reserved value" because they believed that buildings that last more than a hundred years were recognized as monuments, while military villages usually only had forty or fifty years of history. It seems that the principle of "no single steps can lead to a thousand miles" is far from being deeply rooted in people's hearts. Sometimes some local officials on both sides of the Taiwan Strait are equally confused and short-sighted.
To be fair, the biggest advantage of this drama is its rich details and full of emotions, but its biggest disadvantage is that it is too rich in details and the story is too detailed, so it seems too long. The rhythm of the third act to the fourth act is too slow, becoming a slightly nagging account. (In the times I watched, at least 3 people fell asleep by my side)
Because almost all the stories and characters in the play can be found in the life of screenwriter Wang Weizhong. Wang Weizhong has filmed documentaries and published books for the military village, and has also produced the 54-episode TV series "The Story of Time". However, Wang Weizhong believes that "TV is fast food culture", so he eagerly hopes to bring the story of the military village to the stage.
Such rich information must be difficult to choose. In addition, director Lai Shengchuan has an 8-hour resume of "Dream Like a Dream". They want to explain the story in full and the details clearly, but stage art has its own rules, and audiences have their own emotions to watch. The principle of "too much is not as long as it is not enough" is really easy to say, but it is too difficult to do.
What moved me especially was that the crew gave all the audience a bun with good taste after the performance. In the play, Grandma Qian brought a rolling pin from Peking to Taiwan, and passed on the craftsmanship of making Tianjin buns from the Zhao family to the Zhu family. The attachment to the hometown and the feeling of nostalgia for everything in her hometown into the beautiful taste of food. This is an extremely clever artistic expression, and it is actually a very real and natural person's duty. The memory of my hometown is often in the end, just like the fried rice and duck eggs written by Wang Zengqi. Just like I have been in Beijing for many years, but what I miss the most is Sichuan's double-cooked pork and braised fatty sausages.
This drama has more than fifty characters (there are a total of 25 actors at the end of the show I watched), each of which is the most ordinary "little person". These ordinary people have no grand ideals, only simple wishes; there are no magnificent ups and downs in life, only trivial firewood, rice, oil and salt. The last scene of the
drama is Lao Zhao's "appearance". He read the "confession" he wrote to his son: Life is like a miracle, how lucky I am to be able to go this trip with you. May my son not be like us in this life, not knowing what war is, and everything is safe.
And the children who always wanted to leave the military village when they were young finally expressed their thoughts: the earthen walls, bricks and tiles will be removed here, but our memories cannot be removed.
There is still no music link in today's headlines, but at this moment I especially want to listen to Nanquan's mother's "Mudanjiang":
What you can't get is called far away
The name that can't get back is called hometown
