A certain innocent and kind-hearted child who was watching a movie with me saw Xiaodouzi's extra fingers chopped off with a "crack" and couldn't bear to witness it. And I thought of a word with a smirk: castration. I always think that a scene of chopping fingers must have its symbolic meaning in the play, otherwise there is no need to set up the six fingers of Xiaodouzi, and it will not affect the progress of the narrative.
Dieyi is a male body and a female soul. In reality, his redundant organs are fingers; mentally, his redundant organs are male reproductive organs. The little eunuchs had voluntarily or ignorantly removed their reproductive organs in order to enter the court, and Xiaodouzi was also in a state of semi-ignorant removal of extra fingers in order to enter the theater-mentally, he was not very clear that his mother would treat him. What to do: Physically, the cold environment made his pain nerves relatively numb, so he appeared calmer after removing his fingers. So with one cut, Xiaodouzi's physical "castration" ceremony is complete.
However, this kind of "castration" is just a metaphor. The true realization of the process of changing from a male to a female requires a long and difficult process. The so-called Xiongguan Mandao is really like iron, so let's start from scratch.
First is the gender identity, "I am a female Jiao'e, and I am not a man." The plot of this memorial line is already obvious and well-known to everyone. The repeated external concepts will eventually internalize themselves into self-consciousness. And the final completion of this gender identity is realized by the action of "smoke puffing". The performer of this action is Duan Xiaolou. At this time, Cheng Dieyi was wearing a costume with a horned horn, and was labeled as a woman; the action of "smashing the mouth" was similar to the rape of a woman by a man, and Dieyi was in a semi-voluntary situation. In conjunction with this action, the transformation of his gender consciousness was completed under the combined action of external thrust and inner desire; the tool for "smashing the mouth" was the smoking gun, which implies psychedelic and addictiveness, and foretells the generals of Diyi. Completely obsessed with the phantom of his wrong gender positioning, he can no longer extricate himself.
Okay, classmate Cheng Dieyi, now she is a "female Jiao'e". Dieyi, who has become a "female Jiao'e," has experienced his unprepared physical "breaking", that is, the old eunuch's playing with it. Immediately afterwards, Dieyi and Xiaolou adopted Xiaosi, and a spiritually mature woman began her maternal awakening.
Dieyi hugged Xiaolou's waist in the dressing room and said, "Sing for the end", and said, "I'm going to sing the drama of a lifetime", marking Dieyi's feminine consciousness is completely awakened. He asks for love, and this love has become exclusive, which is already a standard emotion between men and women.
However, Xiaolou could not satisfy Dieyi's emotional needs. So Dieyi went through a stage from infatuation to infatuation, his performance repertoire changed from "Farewell My Concubine" to "Drunken Concubine", a metaphor for the change in his mental state. In "Farewell My Concubine", the male and female protagonists interact with each other, and the heroine Yu Ji insists on love and sacrifices for love; "The Drunken Concubine" is a female one-man show. The male protagonist in the love world is missing, and the female cannot be satisfied in love. I had to anaesthetize myself and indulge myself-in the play, Concubine Yang drank her sorrows through wine, while in reality, Dieyi was addicted to opium. Yuan Siye appeared at this stage. In the scene where Si Ye appeared, Xiaolou and Dieyi sang "Farewell My Concubine" on stage, and the banner "Cheng Dieyi "Drunken Concubine"" was displayed in the theater, suggesting Dieyi's later transformation. Si Ye is not the overlord, but Li Longji. Li Longji holds power, but Dieyi, who is empty and frustrated, becomes Concubine Yang. Under the aegis of the power, he gives up holding on and moves towards indulgence.
Duan Xiaolou: The heavy body
remembered such a hypocritical phrase in a scene in the Interrogation of Duan Xiaolou during the Cultural Revolution. The bright lights hit Xiaolou’s face, and the overlord on the stage sat so unbearably. There, the whole world was struggling with him, and he still had to survive. In fact, what I want to talk about here is not only Duan Xiaolou, but only from Xiaolou's perspective to look at the various characters in the play.
In Xiaolou's life, Dieyi represents the spiritual world, Juxian represents secular life, Master is the spokesperson of fate, Yuan Si symbolizes power, and Xiaosi becomes a political accessory. And our poor Xiaolou, struggling between these kinds of forces, was dragged and pushed by all kinds of forces, and walked to the final destination in embarrassment.
Let me talk about Master first. Master has a great influence on Dieyi, and often speaks out the destiny of Dieyi. The development of a person's spiritual world is often the least controlled by manpower and can only be attributed to the drive of fate. But Juxian is just the opposite. She has nothing to do with Coban, that is, her relationship with the master is weaker. Within a certain range, destiny has relatively limited influence on daily life.
Juxian's appearance was after Yuan Sichu's visit to Dieyi. When the spiritual world began to be violated by power, Xiaolou turned to secular life in search of a destination, and Juxian gave him gentle comfort and a stable life. The hostility between Dieyi and Juxian during this period shows the division of spirit and life. Xiaolou found temporary peace in the dunya, exiled his butterfly clothes to degenerate and self-destruct.
If everything develops in this way, then Juxian is likely to win a big victory, but the master appears again. The master asked Dieyi Xiaolou to kneel down together and leaned their heads together. The last push of the hand of fate brought them together again.
The handover between politics and natural destiny is so tightly connected with the death of the master and the appearance of the small fourth. After all the changes in the relationship between characters are no longer the natural trend of fate, but with a strong political color. Mighty power rapes Dieyi, while politics rapes everyone.
The small four in his childhood looked like Dieyi and Xiaolou a few years ago. In fact, when he said "I want to be a horned child" under the water basin, he was already destined to marry and politics. What Die Yi loves is the stage, the pure spiritual world, while Xiao Si is only obsessed with fame and power after becoming a role model. Starting from shouting "Shoot Yuan Shiqing", Xiao Si experienced the pleasure of having sex with politics. I don't know who adopted his child and embarked on the road of killing his father and marrying his mother. As a result, he really killed his father-interrogating Xiaolou high above the ground; married his mother-watching Dieyi being exposed in public to reveal his affair with Yuan Si. When criticizing Xiaolou Dieyi, the expression on Xiao Si's face was completely a pleasure after marrying his mother. Personally, I feel that the character image of Xiao Si is a little short of regret. The transformation is a bit blunt and lacking in human touch. He has the pleasure of killing his father and marrying his mother without shame and struggle.
The relationship between Juxian and Dieyi is an important content of this play. In general, the main trend of the two women from being hostile to reconciling. In the first half of the transition process of Dieyi, Xiaolou, and Juxian, Dieyi is obviously hostile to Juxian, showing the spiritual world's contempt for the world; Juxian gently urges Xiaolou and Dieyi to separate , Secular life is instinctively incompatible and resistant to spiritual life, and it uses a soft knife to sharpen people.
The turning point in their relationship is Dieyi quit smoking. When Dieyi quit smoking, her whole body was cold and she was embraced by Juxian. It was the spiritual world who took the initiative to seek warmth from the worldly life when she was extremely helpless. Then, Dieyi and Juxian watched Xiaolou and Xiaosi singing in the background. When being raped by politics, the same helpless spiritual world and real life finally reached some kind of reconciliation.
On a rainy night, Dieyi peeped into Xiaolou Juxian's husband and wife life. The torrential rain symbolizes a strong political force. Under political violence, the spiritual world watches helpless individual lives to grab the last warmth in the secular life.
During the criticism, political rape reached a climax, and Xiaolou finally completely abandoned his spirit and life. Dieyi’s reaction showed the final vent when the spiritual world was completely collapsed; and Juxian looked at Dieyi and Xiaolou's mutual attack with pity. It was a gentle life in the world, facing the spiritual world that was about to be completely destroyed. , Instinctive compassion and protection.
Voice: Peking Opera encounters Radio
Peking Opera: including Peking opera sings, Kunqu opera sings, Jinghu gongs and drums accompaniment and various background music. Throughout the show. Beautiful, gorgeous and desolate, full of sentimentality, highlighting the theme of emotion and destiny.
Broadcasting: Including radio broadcasts and revolutionary songs. The latter part appeared in large numbers. The tone is serious and ruthless, the tone is strong, and the content is radical, expressing the theme of politics and destiny.
Clothes: The materialized symbol
of individual life. Clothes are the materialized symbol of individual life. The costumes of Yu Ji and Bawang are the symbols of Dieyi and Xiaolou's stage world, while the red brocade robe at the time of wedding represents the stable life of Juxian's painstaking efforts. .
There are four scenes of burning clothes in the film. The first time, Xiaodouzi burned his mother’s clothes, and his mother left his life; the second time, Dieyi burned a costume for the first time, and burned a piece of red silk, expressing that the art (spiritual world) of Peking Opera has been affected by the times. Invaded by the wave (strong politics); the third time, Juxian wanted to burn the Dahong brocade robe, but did not burn it after all, because she still wants to continue to manage her daily life with difficulty, and she needs something soul-like; the fourth time , Dieyi burned the costumes after the criticism meeting, the Overlord and Yu Ji were dead, the stage was dead, and the spirit was dead. Juxian hung herself in a red robe. Together with her unbearable mundane life that she could no longer manage, after "drawing the boundaries" in the small building, she walked towards the shelter of death.
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