The following drawing process is purely a personal point of view, lack of experience, occasional inattention, and omissions are obvious. The plot points mentioned are basically divided according to their role in the story structure, so there are lengths and shorts. Perhaps a turbulent story has many inheritance and transformation, but they play a common role in the story structure. In this case I count them as the same plot point.
The video begins. The opening and closing are the back and forth echoes after flashbacks, and we meet again after twelve years, and then in a small play, Leslie Cheung mows himself like Yu Ji. In the beginning of this paragraph, the time when the two were separated (1) and the persecution of the two by the Gang of Four (2), implying the painful experience of the two (A). A beam of chasing light is very artistic to make the surroundings of the picture black, transitioning from reality to the distant age of time and space.
(1) (2) -> (A, the painful experience of the two people, is the theme of this play)
After the opening subtitles, the little douzi is walking to the theater with the little douzi in the off-white screen. The action of a frivolous man touching his face (3), a sentence of "stinky bitch" (4) alluding to the career of little bean girl (B).
(3) (4) -> (B, character of Little Bean Girl)
Little Beangirl is holding the child to the theater. Xifucheng theatrical troupe performed in the open air, and the master brought a group of children. The little leper tries to escape (5). Master and others are bullied by unknown people (C), this is just the beginning of a series of bullying. Little Stone yelled "I'm fucking you uncle" and performed a show (6). Xiao Shiu's reaction to the incident (6) can be seen as an explanation of Xiao Shiu's character (Xiao Shiu's character). Xiao Xiaozi's role is not so important that he must explain the character of the characters. Unidentified people call Peking Opera performances "Xia San Lan", and they and everyone admire Paizhuan (7). In the next paragraph, the master immediately calls Paizhuan "Xia San Lan" (8), a quick comparison, which is a bit ironic (D) ).
(6) -> (Character character of Xiao Shitou)
(7) (8) -> (D, a small contrast, satire) The
master punishes Xiao Shitou (9) physically, showing the image of a strict teacher (E).
7:00
(9) -> (the character of the master)
Xiaodouzi's six fingers (10) and the doorway "sharpening scissors" (11), a quick response (F). "Whatever you do, don't despise us" (12) and "They are both inferior, who dislikes whom" (13), once again implying the career of Little Beangirl (G=B). A piercing shot: a close-up of a six-finger hand in the middle, with an extra finger beside the thumb of the right hand. All the remaining shots have an extra finger next to the little finger of the left hand.
(10) (11) -> (F, a small echo)
(12) (13) -> (G=B)
"Hands are cold and frozen" (14) and cutting off the sixth finger (15) are again A quick little echo can also echo the previous one (H=F). Little Beangirl walked down from the left side of the frame, and a pan was past. The little Beangirl was gone, a fascinating shot. The art director (like Chen Kaige) forcefully inserted the scene of snowflakes flying outside the door. The feeling of loneliness and vicissitudes of life is reminiscent of the panning mirror that Zunlong gave the child the last cricket in "The Last Emperor".
(14) (15) -> (H=F)
11:00
In other parts of the troupe, children called Xiaodouzi from the kiln (16), which once again hinted at Xiaodouzi's career (I=B), and it was the beginning of describing Xiaodouzi and Xiaoshitou's love (J). Little Stone greets Xiaodouzi to sleep together (17).
(16) -> (I=B)
(16) (17) -> (J, the love between Xiaodouzi and Xiaoshitou)
A little monologue (18) by the master of "Someone has a pear garden", which reflects the character of the character. Xiaodouzi practiced the splits (19), enriched the biographies, and shaped the characters' personalities. Little Stone cut corners and was beaten for Xiaodouzi (20), while shaping the character of the master, he continued to deepen the two-person relationship (K=J).
(18) (20) -> (Character character of the master)
(19) -> (Character character of Xiaodouzi)
(20) -> (K=J)
Dongye Xiaodouzi was physically punished and read the drama of Farewell My Concubine Ci enters the house (21), sleeps in one place naked (22), clicks the question (L) and deepens the relationship between the two (M). Two scenes (23) of shirtless play by the water in the early morning show the passage of time (N), reciting commandments (24), and reciting play words (25), enriching the biographies of characters. Pay attention to the comparison (O) of the three memorizing words, the proficiency is different. One detail in this scene is very good, that is, when the master asks Xiaodouzi "is the nun a man or a woman", the little stone who is close to the focus is out of focus, acting distraught.
(21) -> (L, point question)
(21) (22) -> (M=J)
(23) -> (N, the passage of time)
(24) (25) -> (Little Rock’s character, small Douzi ’s character, Xiao Xiaozi’s character)
(25)->(O, a small comparison) After the
master hit Xiaodou’s hand, Xiaodou looked at the blood-stained palm of his hand, and heard the sound of sharpening scissors and kitchen knife. (26), small echo (P=F). Little Stone helps Xiaodouzi take a bath. Xiaodouzi raises the three sons under the pillow for the first time (27), which not only expresses the two-person relationship (Q=J), but also lays the groundwork for the next small response. Here Xiao Shitou tells Xiaodouzi "I think I am a woman" (28).
(26)->(P=F)
(27)(28)->(Q=J)
By hearing the yelling of "pea yellow" at the door and the fact that Xiao Xiaozi wanted to eat candied haws (29), a reaction to learn to play The contrasting story line (R) of the hard and rich biographies was added. "Bingtang Hulu" yelled at the door (30), Xiao Xiaozi ran to the door, Xiao Shitou pulled him back because he was not allowed to open the door of the troupe. He said, "There are many kites at the door." The door was opened and Xiao Xiaozi gradually walked to the door. (31). The ingenuity lies in two points: the script does not directly point out the candied haws, or simply makes the Xiaozi like to eat pea yellow and give out the "pea yellow" cries. The script first gives the pea yellow, then gives the Xiaozizi who recognizes candied haws as the best thing to eat, and then gives the cries of "Candied Haws", which is undoubtedly more icing on the cake than the former; the script does not make Xiao Xiaozi open the door directly, but chooses him to be It is undoubtedly more reasonable to pull it back and open the door together. As an individual, Xiao Xiaozi is often beaten, so naturally he dare not cross the thunder pond easily. But when everyone goes together, the door is more reasonable to open.
22:00
Xiao Xiaozi called Xiaodouzi to run away (32). After Xiao Shizi chased him out, Xiao Douzi turned around and said in a sad state that he left the three eldest sons (33), the carriage of the famous Peking opera (34), Xiao Xiaozi used it. The three elders of Xiaodouzi bought rock candied haws (35). Two seemingly unrelated plot points are connected by the third plot point to form a set of echoes (S), which is amazing and wonderful.
(27) (29) (35) -> (S, a small echo)
Xiaodouzi said that he had soaked in urine (36), and the famous carriage passed by two people (37). The faceless character is drawn here, and the script also separates the first and second carriage shots, which is also a microcosm of the ubiquitous penetration of the whole play. The theater manager made his debut for the first time, and his mouthful and slick tune led Jiao'er into the theater. The two deserters began to really feel Jiao'er's demeanor (38). This plot point not only shows the character of the theater manager, but also introduces him to Duan Xiaolou after becoming famous, and Cheng Dieyi paves the way for the bridge to enter the theater, and by the way, it plays a guiding role in the story line of this enriched character biography. The content, that is, the role of the two being moved by the charm of the corner, can be described as priceless.
(38) -> (Character character of theater manager)
The two entered the theater filed with everyone, "Farewell My Concubine" staged (39), and clicked (T). Following the overlord's majestic performance on the stage, the two applauded first (40) and then shed tears (41). Among them, the self-talk of "When will I be able to become a horned child" is really the spring and autumn style of writing. Xiaodou urinates with Xiao Xiaozi's face (42), and completes the response (U) to (36), with unknown intentions. Xiaodouzi pulls Xiaozizi back to the theater class (43), Xiaozizi boasted that he is not afraid of the master's corporal punishment (44), this is a boast, so this plot point will be the foreshadowing of Xiaozizi's suicide in the future, and it will also assist the two to complete the drama Contrast of life attitude (X).
(39) -> (T, point question)
(36) (42) -> (U, a small echo) It
is precisely because there are multiple corporal punishments as the biographies of the master, the plot here is very comfortable and reasonable. The master punished the little stone physically, and the little stone shouted (45). After the master chased the little stone, Xiaodouzi took full responsibility. When he was beaten, he said nothing (46). This point is emphasized and a comparison is given (V) . The little leprechaun eats candied haws (47). Xiao Shitou was angry and tried to fight against the master without success (48), and foreshadowed the two later visits to the master. The little leprechaun committed suicide (49). Note that (47) and (49) give an interlude. A false wall on the stage fell down, giving a puff of dust in a very windy manner, setting off the violent aesthetics of the hanging scene.
(45) (46) -> (V, a small contrast)
(44) (49) -> (W, a small echo)
(43) (49) -> (X, a small contrast) So
far, this is used 21 plot points, the story line (R) that played a role in enriching the biographies of the two characters is over.
(29) ~ (49) -> (R = Xiaodouzi’s character, Xiao Xiaozi’s character)
Here I take the experience of escaping from the troupe as a part of the character’s biography rather than a conflict construction that hinders the character’s goal. The reason is I personally feel that the conflict here has not been elevated to a very strong level, and the characters have succumbed in the face of such obstacles.
33:00
The master talked about the play, and pointed out the themes such as "people can't match the destiny", "suffering from one thing", "one by oneself" and other themes (50). This theme actually also serves to remind the audience to pay attention to the connection between the opera and the plot, that is, "play in the play", so the theme is given here more clearly, and it will not be overdone like a normal script. The master and the theater manager had a dialogue (51), which focused on the two personalities, especially the image of the theater manager, who tends to be inflamed, bullies the soft and fears hardship, gets a very three-dimensional depiction. Xiaodouzi once again made a mistake in singing "Sifan" (52), Xiaoshitou abused Xiaodouzi's mouth with a pipe (53), Xiaodouzi suddenly regained consciousness and turned his back to the lyrics (54). This not only tells the audience that Xiaodouzi has learned skills, but also enriches the portrayal of the relationship between him and his seniors.
(50)->(Y=T, point question)
(51)->(the character of the master, the character of the theater manager)
(25)(52)(54)->(Z, a small echo)
(52) (54)->(Character character of Xiaodouzi)
(53)->(AA=J)
Xiaodouzi played as Yuji on the stage, the scenery is infinite, Zhang Gonggong pointed to him in the audience, very happy (55) . The master receives the reward (56). The two brothers played with a real sword on Zhang Gonggong's mansion, and the theater manager came to remind them to pay attention to safety (57). The sword here will become a carrier of a series of memories, and this plot point will also form a series of echoes with the following ones, with excellent results. Xiaodouzi was selected to accept Zhang's "Lingxing" (58). Xiaodouzi helped Xiaoshi lick his wounds? (59) Xiaodouzi was carried away (60).
(59) -> (AB=J)
Father-in-law Zhang corrected Xiaodouzi's view of the age (61), giving time and portraying the character's personality. Xiaodouzi peeed at Zhang Gonggong's undressing, echoing the previous plot. This situation aroused Zhang Gonggong's "possessiveness". He forced Xiaodouzi onto the kang to be indecent successfully (62), and the camera panned to the erotic palace on the wall. picture. Xiaodouzi walked out of Zhang's mansion in a daze, and when he saw the abandoned baby, the master proposed his fatalism. Xiaodouzi's ears echoed the sound of sharpening scissors (63), and the response was wonderful.
(61) -> (AC=N, time passes)
(61) (62) -> (Character of Father Zhang) (62) -> (Character of Xiaodouzi
)
(36) (42) (62) -> (U, a small echo)
(63) -> (AD=T, point question)
(11) (26) (63) -> (AE, a small echo)
(63) -> (Xiaodouzi's character)
45:00
group photo, photographers let everyone focus (64). After the sound of the camera taking pictures, an exquisite connection, Dieyi and Xiaolou's suits (65). Gentlemen can be regarded as grown-ups. The students marched against the ceding of North China, and their enthusiasm was high (66). The brothers sat on the foreign cart and chatted with the theater manager (67). The trio said that the first time they came to power together was Zhang Gongtanghui (68). They mentioned the sword and said they didn't know where it was sold (69).
(65) -> (AF=N, time passes)
(66) -> (AG=N, time passes)
(67) -> (AH=J)
(67) -> (AI, the character of the theater manager)
(55) (68) -> (AJ, a small echo)
(57) (69) -> (AK, a small echo)
When the two walked into the theater, the theater manager cheered up and shouted "Bingtang Hulu" (70) beside them. They portrayed the characters and echoed them and paid tribute to Xiao Xiaozi. Yuan Siye appeared (71). Dieyi is Xiaolou's hook face (72). During the two wonderful performances, the theater manager held Si Ye (73). Make-up removal in the background, the relationship between the two is subtle (74). Si Ye gave a gift (75), and the theater manager continued to hold it (76). Si Ye talks about drama (77), Xiao Lou changes clothes (78), Si Ye continues to talk about Yu Ji (79), Si Ye talks about Overlord, saying that Overlord should take seven steps instead of five when he returns to the camp to see Yu Ji, Xiao Lou The overlord who played is Huang Tianba (80), which highlights his traditional opera skills. Si Ye invited the two to drink and talk about drama (81), but Xiaolou refused (82). Note that (77)(79) and (78)(82) are interspersed. Si Ye left. Die Yi said to walk slowly (83), showing his respect for people who know the opera and paved the way for the Japanese soldier in the future.
(70) -> (the character of the theater manager)
(30) (70) -> (AL, a small echo)
(72) (74) -> (AM=J)
(73) (76) -> (theatre Personality of the manager)
(77) (79) (80) -> (Character of the Fourth Master) When
Xiaolou arrived at Huamanlou, he called for Juxian. A very fictional description shows a dialogue between Xiaolou and a prostitute. The symbols of "top card", "high branch" and "upstairs" are combined into a small series. Juxian jumped off the building (84), showing his fortitude and implying that the two have known each other for some time. This is a quick biography that makes the marriage of the latter two more reasonable. Xiaolou proposes a marriage. Juxian thought it was to excuse her, but didn't take it seriously. Xiaolou seriously drank the wine. The story slowed down to show seriousness. Juxian accepted the proposal and drank the wine (85).
(84) -> (Juxian's character)
(84) -> (AN, Xiaolou and Juxian's love)
60:00
Dieyi talked about Huamanlou Xiaolou fighting and getting along with Juxian. He was very jealous. He also talked about what the master said to be consistent (86), Xiaolou said that drama and life should not be confused (87). While responding to the theme, the collision and conflict of the two characters began to appear. Juxian redeemed her, and the old bust mentioned that sister Yao was her life (88). Dieyi's curtain calls, and the fourth master will send another banner (89). The audience applauded enthusiastically, and at this time they were already famous characters in the capital.
(86) -> (AO=J)
(50) (86) -> (AP, a small echo)
(87) -> (AQ=T, point question)
(87) -> (AR, Dieyi and Xiaolou personality conflicts)
(88) -> (AS = T, turned a deaf ear)
(75) (89) -> (AT, a small echo)
Juxian then came on kiln sister era dress and simple than the previous lot. She grievedly told Xiaolou that Huamanlou would not keep married people (90). She took the initiative to redeem herself with very self-esteem, and then pretended to be a weak person, panicking that she had been driven out by Huamanlou, and won Xiaolou's sympathy, so that she quickly gained a reputation and was quite a city. Someone said later, "This girl is really amazing" confirms this point. Dieyi meets Juxian, slams the door and enters (91). Juxian wanted to "enter the door of Duan's house dignifiedly" (92). Dieyi slammed the door out, satirizing Juxian sprinkling dog blood, satirizing Xiaolou is Huang Tianba (93). Dieyi tells Xiaolou to go to Si Ye's house, and beg Xiaolou not to go, Xiaolou will not listen (94).
(90) (92) -> (Juxian's character)
(91) (93) -> (AU, the character conflict between Dieyi and Juxian)
(80) (93) -> (AV, a small echo)
(94) -> (AW, the character conflict between Dieyi and Xiaolou) The
fourth master took out a pair of precious antelopes to wait for Dieyi (95). Dieyi covered the quilt for the two children, remembering that year (96).
(75) (95) -> (AX, a small echo)
(81) (95) -> (AY, a small echo)
(22) (96) -> (AZ, a small echo)
At 72:00, Si
Ye said that Guanyin combines yin and yang, and he is full of joy (97). The sword reappears (98). Si Ye asked Dieyi to be a confidant (99). The two sing at night (100). Dieyi drew his sword, and the fourth master told him aloud that this sword was a real guy (101), echoing the ending. Japanese soldiers appear (102), suggesting time. Dieyi's lipstick is fuzzy (103), self-explanatory. Entering the wedding banquet with the sword, let Xiaolou recognize, Juxian handed the wine, Dieyi said "Thank you Miss Juxian" (104). Dieyi looked at the pictures of the two on the wall (105) and announced that she would no longer cooperate with Xiaolou (106).
(57) (69) (98) (101) -> (AK, a small echo)
(83) (94) (100) -> (BA, Dieyi's character: Attitude towards people who understand opera: Four Ye)
(102) -> (BB=N, time passes)
(83) (94) (100) (103) -> (BA, the character of Dieyi: Attitude towards people who understand drama: Si Ye)
( 57) (69) (98) (101) (104) -> (AK, a small echo)
(65) (105) -> (BC, a small echo)
Dieyi walked out, the Japanese soldiers entered the city, and smoothly transitioned to The plot of Dieyi singing to the Japanese is very natural. Die Yi sang "The Drunken Concubine", Si Ye and the Japanese watched from the audience, surrounded by Japanese flags (107). Xiaolou said that Dieyi raised her eyebrows (108). Flyers fell during the performance, others left, and Die Yi sang as usual (109). The Japanese wore Xiaolou's costumes (110), the butterfly costumes performed, the lights went out and resumed (111), and the traitors treated Xiaolou (112) brutally. Si Ye took the lead in applauding (113). The Japanese applauded (114), paving the way for Dieyi to sing the Japanese alone in the future. Xiaolou took the lead in anger and threw the teapot at the traitor (115). Here you can see the difference in their attitudes towards the Japanese.
(71) (89) (107) (113) -> (BD, a small echo)
(72) (108) -> (BE, a small echo)
(109) -> (Die Yi's character)
Dieyi is about to sing for the Japanese, suggesting that Xiaolou was arrested by the Japanese (116). The theater manager came forward to explain the story of the skip (117). When Juxian came out, Dieyi took off her coat again, and Juxian immediately moved a chair to sit down (118). This plot point is one sword and two swords, wonderful. Juxian agreed to return to Huamanlou (119) after Die Yi rescued Xiaolou. This conflict ended with Juxian's proper cooperation.
(115) (116) -> (BF, the character conflict between Dieyi and Xiaolou)
(116) -> (BG, the character of Dieyi: Attitude towards people who understand drama: Japanese)
(116) -> (BH=J)
(117) -> (BI=N, time passes)
(118) (119) -> (BJ, the character conflict between Dieyi and Juxian)
(118) -> (the character of Juxian)
Dieyi sang "The Peony Pavilion" to the Japanese, and the Japanese listened with gusto (120). Xiaolou was released, Dieyi said that there was a Japanese named Aoki who knew how to play, and was spurned by Xiaolou (121). The Japanese lined up and executed the prisoner (122). Wedding, bridal chamber (123). Die Yi has a meal with Si Ye (124).
(121) -> (BK, the character conflict between Dieyi and Xiaolou)
(116) (121) -> (BG, the character of Dieyi: Attitudes towards people who understand drama: Japanese)
(123) (124) ) -> (BL, a small comparison)
90: 00
Dieyi hooks the face for Si Ye (125). Xiaolou and Juxian look forward to a happy life (126). Dieyi smokes a lot of smoke (127), Xiaolou plays with crickets (128), and both of them degenerate when they are not singing. Juxian persuaded Xiaolou not to play with crickets and be a positive business student (129).
(72) (108) (125) -> (BE, a small echo)
(83) (94) (100) (103) (125) -> (BA, the character of Dieyi: To those who understand drama Attitude: Si Ye)
(127) (128) -> (BM, a small comparison)
(127) -> (Die Yi's character)
(128) -> (Xiaolou's character)
(129) -> (Juxian's character)
(129) -> (BN, Xiaolou and Juxian's Love) The
two visited the master, and the master reviewed history and gave them admonitions (130). Juxian came against the master (131). Juxian quarreled with Xiaolou to give the news that Juxian was pregnant (132). The master led his apprentice and died suddenly (133). When he was wearing hemp and filial piety, he met Xiao Si'er. He mentioned the master's words (134) that he wanted to fulfill oneself. This is an important point. Therefore, he introduced a role that will give them an ideological impact in the future.
(48) (130) -> (BO, a small echo)
(130) -> (the character of the master)
(131) -> (BP, the character conflict between Juxian and the master)
(131) (132) -> (BQ, the love of Juxian and Xiaolou)
(18) (133) -> (BR, a small echo)
(134) -> (the character of Xiaosier)
(50) (134) -> (BS , A little echo)
102: 00
The two emotions of filial piety with hemp belt and celebrating the surrender of Japan are intertwined, very artistic. The two prepare for the coming of a new life (135). When Dieyi sang a show, the surrounding national army showed a very uncultivated attitude, shaking him frequently with flashlights, and talking nastyly (136). This reflects a very important conflict. The Japanese as the invaders and the four masters of the landlord class understand drama, the national army as one's own is vulgar, and Dieyi, as a drama idiot, conducts between morality and art. In the decision, I lost myself all my life. Juxian asked Si'er to find the theater manager (137), which shows that she still has a pity for Dieyi. Xiaolou walked out and persuaded the national army (138). The national army occupied the moral high ground and fought against Xiaolou. Xiaolou cursed "I fuck you uncle" (139). Juxian miscarried in the chaos army (140), while the national army took Dieyi away (141). First of all, the results of the struggle between the two people and the environment are intertwined, and a climax is introduced in this bridge; then, the conflict between people and the environment is important. When the environment changes, it will not only bring out the conflict between the characters and the new environment, but also Add another layer of conflicts that are not tolerated by the new environment due to the influence of the old environment or the relationship between the characters and the old environment. The sense of layering is suddenly distinctive here.
(107) (136) -> (BT, a small comparison)
(138) -> (BU, the love of Dieyi and Xiaolou)
(6) (139) -> (BV, a small echo)
(140) ->(Xiaolou’s character, Juxian’s character)
(141) ->(Xiaolou’s character, Dieyi’s character)
Juxian persuaded Xiaolou not to continue singing with Dieyi (142). Xiaolou and the theater manager go to Si Ye’s house and ask Si Ye to come forward and use Dieyi, and Si Ye proposes that the Overlord should take a few steps when he returns to the camp (143). Juxian took a sword and came to Si Ye's Mansion, threatening Si Ye, and if he did not save Dieyi, he would be reported as a traitor (144). Juxian sent a message to Dieyi, saying that Xiaolou's children were gone, and it was their retribution for singing together (145). In the court, Si Ye condemned the prosecutors for saying "a pornographic song" (146). Dieyi refused to fake the certificate, insisting that she took the initiative to participate in the Japanese church (147). Si Ye left, the court released Dieyi (148). Dieyi and Sier performed "The Peony Pavilion" (149) for the commander of the national army.
(80) (143) -> (BW, a small echo)
(57) (69) (98) (101) (104) (144) -> (AK, a small echo)
(144) -> (BX, The relationship between Juxian and Xiaolou)
(144) -> (Character of Juxian)
(146) -> (Character of Si Ye)
(116) (121) (147) -> (BG, Dieyi's Character: Attitude towards people who understand opera: Japanese)
Dieyi smokes a lot of cigarettes, and the theater manager burns a family letter and tore a fan. The film suggests that this is the usual practice (150). Dieyi naturally doesn't know who his parents are, so this is a bridge that highlights the character's character. Xiaolou and Dieyi meet again, and send four children to hand the sword to Xiaolou. At this time, Xiaolou is selling watermelons (151). Communist soldiers approached the city (152), Xiaolou said, "They don't mess around, they are in a hurry." Si'er heard this sentence next to him, and the theater manager said that Si Ye is a ye no matter which dynasty or generation (153). They reunited with Zhang Gonggong on the street, and Zhang Gonggong was now a fortune teller (154). The establishment of the Republic, the red flag fluttering in the theater (155), the butterfly clothes sang the opera, and the PLA soldiers in the audience applauded enthusiastically (156), and then sang the army song. The four people watched from the side, and their hearts were surging (157). Dieyi quit smoking (158). Xiaolou and others were criticized at the fight meeting, and Si Ye was criticized, echoing the previous article (159). When Si Ye was taken away, Xiaolou wanted to stand up and tell the truth, but was held down by Juxian next to him (160). This is essentially a conflict between the character and the environment, and is his reaction when the surrounding environment does not match his personality. Si'er is an advanced member of the crowd shouting slogans (161). Xiaolou mumbled: Just killed Yuan Siye? (162) Si'er wandered in the sea of communists, at ease (163), he accepted the communist ideology.
(150) (158) -> (Die Yi's character)
(152) -> (BY=N, time passes)
(55) (154) -> (BZ, a small echo)
(107) (136) ( 156) -> (BT, a small comparison)
(153) (159) -> (CA, a small echo)
(160) (162) -> (the character of Xiaolou)
(157) (161) (163) -> (the character of Si'er)
(57 ) (69) (98) (101) (104) (144) (151) -> (AK, a small echo)
130: 00
Xiaolou helped Dieyi to quit smoking, Dieyi's addiction to cigarettes broke out, put the picture frame on the wall Broken, Die Yi cursed, "I fuck you uncle" (164), this was the swear word he heard from his senior brother back then. When Juxian entered the house, Dieyi murmured: The water is freezing (165). The above two can be called the echo of the grave digging level. Si'er sang "The sky in the People's Liberation Army is sunny" and entered the house (166), saying that he had gone to a meeting, and was slapped by Juxian (167). At this point, the choreographer finally made us wait for the day when the previous plot came to fruition. For the four men who appeared halfway, the character shaping work can be said to be very tight, racing against time, just for this moment. At this point, we finally began to see the contradiction between the character of a young revolutionary who had accepted the proletarian ideology and the protagonists. Brothers and sisters came to visit Dieyi (168), and the big smoke incident came to an end.
(65) (105) (164) -> (BC, a small echo)
(164) -> (CB=J)
(6) (164) -> (CC, a small echo)
(14) (165)- > (CD, a small echo)
(166) -> (the character of Si'er)
The meeting scene. Die Yi expounded her opinion on the outfit of modern opera. Si'er raised objections from the standpoint of the proletariat. Die Yi said that Beijing opera is "no sound, no song, no movement, no dance." Juxian walked into the venue. Si'er quickly brought aesthetic issues to political issues, and Die Yi reprimanded him for saying that they were two different things, saying that he was presumptuous. Xiaolou mediates from it. Four let Xiaolou talk about it. Juxian interrupted and gave him an umbrella, suggesting that he speaks carefully (169). Xiaolou said that as long as Xipi Erhuang is Peking Opera, he also patted Dieyi's legs (170). The theater manager did not change his glib personality, and resolutely flattered the new society (171). Si'er and Dieyi clashed fiercely, and Si'er left (172).
(169) -> (CE, the character conflict between Dieyi and Si'er)
(169) -> (the character of Juxian)
(169) -> (CF, the affection between Juxian and Xiaolou)
(170)- >(Character character of Xiaolou)
(170)->(CG=J)
(171)->(Character character of theater manager)
(172)->(CH, the character conflict between Dieyi and Sier)
137: 00
In the backstage of the stage, Si'er Dieyi played as Yuji at the same time, so it was decided long ago that Si'er would replace Dieyi. Xiaolou originally decided not to sing. Later, after an ideological struggle, he decided to succumb to the environment and perform on stage with Si'er. Dieyi personally put the bridle on Xiaolou (173). Juxian draped Dieyi's head, and Dieyi turned and said "Thank you Miss Juxian" (174). The two brothers quarreled across the door. After the small building left, Dieyi walked out and burned the costumes that were hanging in the yard (175).
(173)->(Character character of Xiaolou)
(173)->(CI=J)
(104)(174)->(CJ, a small echo)
(175)->(CK, Dieyi and Xiaolou Character conflict)
On the eve of the Cultural Revolution, the broadcast gave the decision to start the Cultural Revolution (176). In the background sound of the broadcast, Dieyi walked to Xiaolou’s home, saw Xiaolou and Juxian burn a lot of paper materials, drank with a wine glass stained with the "Four Olds" and smashed the wine glass. The person retreated to the bed, and Dieyi left (177). Sword reappeared against Xiaolou's individual criticism. The theater manager and Si'er proved that Xiaolou had said that "the Communist Party is here, and you can't fight it wrong" (178). At this time, Si'er's costume is a typical Red Guard. Criticism will go to the small building and be asked to smash bricks, asking to explain the behavior of the old society, including going to brothels and marrying prostitutes (179). The conflict between the characters and the environment here is essentially the same as the bridge where Dieyi was captured by the national army with the crime of traitor. Xiaolou was paraded, and Dieyi came to cheer for him (180). The two were paraded, and Xiaolou was forced to "expose" Dieyi (181). Xiaolou threw the sword into the fire, and Juxian rescued the sword (182). Dieyi stood up and exposed Xiaolou and Juxian, saying that all this was retribution (183). Xiaolou was forced to draw a clear line with Juxian (184).
(176)->(CL, time passing)
(177)->(Xiaolou’s character, Juxian’s character, Dieyi’s character)
(57)(69)(98)(101)(104) (144) (151) (178) (182) -> (AK, a small echo)
(178) -> (CM, the character conflict between theater manager and Xiaolou)
(178) -> (CN, Sierhe Xiao The character conflict of Lou)
(180)->(CO=J)
(181)(184)->(Character character of Xiaolou)
(182)->(Character character of Juxian)
(183)->(Die Yi Character)
(145) (183) -> (a small echo)
163: 00
Juxian finally met Dieyi, dressed in new clothes hanging over a beam, and committed suicide. The background music is a modern model play (185). Si'er chanted "Farewell My Concubine" (186), holding the meeting gift given to Dieyi by the Fourth Master. The Red Guards approached him in a righteous manner, presumably there was no good result. Eleven years later, Dieyi and Xiaolou walked together for the last time (187) and sang the part where Yu Ji wanted to draw the sword and sing herself. Xiaolou couldn't rap anymore, and then the two recalled that Xiaodouzi practiced "Sifan". Die Yi reads wrong again (188). Continue to rehearse the last part of the bridge, a close-up of a meaningful butterfly attire. The butterfly attire is a part of the play, and he draws his sword and slays himself (189). Xiaolou turned around and cried out Die Yi's name, and then called Xiaodouzi softly. The background music was "Singing the Motherland" (190). The video ends.
(185)->(Juxian’s character)
(169) (185)->(CP, a small echo)
(75) (186)->(CQ, a small echo)
(187)->(CR, Time passes)
(25) (52) (54) (188) -> (Z, a small echo)
(101) (189) -> (CS, a small echo)
(57) (69) (98) (101 ) (104) (144) (151) (178) (182) (189) -> (AK, a small echo)
After going through the plot roughly, we can see that 190 plot points tell 97 structural basis ( Indicated by letters), these structural foundations use the intricate arrangement of plot points as a tool to firmly set up the entire script, and each plot point does not forget to echo the above or foreshadowing the following. This is the format of a typical traditional classic script, and the plot layout is obviously much more complicated than the general classic script. This is the most brilliant part of this drama.
The dramatic attributes of classic scripts are embodied in both the characters and the plot. The core of the characters is the character, and the core of the plot is the conflict. The character of a character is actually the influence exerted by the surrounding environment on the character. The conflict between people and the environment is an essential part of the plot. So in this sense, the conflict of character and plot is sometimes really two sides of the same coin, and the boundaries are difficult to distinguish. From the period of the Beiyang government to the end of the Cultural Revolution, the environment has undergone a series of continuous changes. The conflict between people and the environment is important. When the environment changes, it will not only bring out the conflict between the characters and the new environment, but also add another layer due to the influence of the old environment or the relationship between the characters and the old environment. Conflict that cannot be tolerated. The sense of layering is suddenly distinctive here. In scripts, special events in special environments are often used as objects that actually conflict with characters, such as the Criticism during the Cultural Revolution. What about the characters? There can be conflicts between people, and there can be conflicts between people and other people.
The script of this play is meticulously crafted, and each segment is very brilliant on the basis of fulfilling its own functions. The connection between the bridge sections has also been delicately handled. Stringing up all the segments that shape the character's character, we can know a little bit about the character's experience in the play.
Die Yi is a play idiot, and she has admiration for those who love play and know how to play, and treat them as confidants in her heart. Idealistic rigidity runs through the whole, never easily compromised with the environment, and ultimately unable to support, with death to call the curtain. The troupe master said, "You have really entered the realm of transformation, and the male and the female are irrelevant" is the epitome of his life. ((19)(24)(25)(29)～(49)(52)(54)(62)(63)(83)(94)(100)(103)(109)(116)(121) (125)(127)(141)(147)(150)(158))
Xiaolou has a very clear distinction between life and singing. This character exists as a contrast between butterfly clothes. He has a love-hate relationship with Dieyi, and he has given in to the environment. Although he has been frustrated along the way, he is the most realistic character, his mood has been relatively stable, and his personality is not abrupt and clear. ((6)(24)(25)(128)(140)(141))
Juxian is a resolute woman with a certain city government. As a woman born in a brothel, she may be the only character in the play who acts for her conscience from beginning to end. After so many winds and waves, he finally failed to overcome the environment and killed himself. It is not only a contrast with her own experience before, but also a clear portrayal of her character. ((84)(90)(92)(118)(129)(140)(141)(144))
After shaping the characters in the early stage, the task of strengthening these characters is left behind. When writing the script, they It’s good to make up the behavior to match the character’s character. The relationship between the characters in the play is almost the beginning of the character’s character being shaped, mainly the complex feelings between Dieyi and Xiaolou, as well as the character conflicts between the characters in the play, they appear staggered, making the story compact and powerful. Let the audience get over the drama addiction.
The plot points in the play complete a series of echoes and comparisons, which make the complexity of the script culmination, requiring the director to have a consistent attention, which is very energy-consuming, and it is not easy to achieve such a degree.
As the invaders, the Japanese and the four masters of the landlord class know drama, and the national army and the People’s Liberation Army as their own people are vulgar and ignorant of drama. As a drama idiot, Dieyi chooses between morality or politics and art. Among them, I lost myself all my life. He is the most important character in the play because he has the strongest resistance to the environment. A vicissitudes of life theater, surrounded by many flags and banners from Japan, the Republic of China, the Republic of China, etc., has witnessed the changes of the times ((73)(107)(136)(155)). A sword, which has changed hands several times, is an important link between the previous and the next ((57)(69)(98)(101)(104)(144)(151)(178)(182)(189)).
The theater manager’s glib tongue tends to be inflamed, Si Ye’s pear garden skills and ecstasy, Si'er’s proletarian worldview is also vividly portrayed. Among them, the theater manager, as a supporting role, has many descriptions of his personality characteristics, which can be found in basically every segment. The reason is that he is in a low position compared with the protagonists, and is in a slightly weaker position in the story. , Even if his character is quite different from the protagonists, saying a few more words and expressing a little more of his character will not hurt the main contradiction of the scene. After all, the main contradiction is still caused by the protagonists who are stronger than the theater manager. Embodied.
The little scorpion is not the main character ((5)), so placing him in the play has no fundamental influence on the main story. Why does the screenwriter want to join this role? In order to set off the hardship of Xiaodouzi Xiaoshishi learning opera? Or is it for someone to take Xiaodouzi to have the experience of leaving Xifu Chengkeban to help shape Xiaodouzi's character? It cannot be denied that with the role of Xiaoqizi, the play has become more vivid. Wonderful pen. It is worth thinking about and learning from.
Speaking of the final effect of this film, in short, there are a series of points worth noting. The dim lighting colors play a very important role in the film, and it often implies the mood and atmosphere of the scene. In the opening scene, the little Beangirl came out with her baby in her arms, and the camera was grey and white. Later, when the master hit a small stone, the scene became colorful. This transition was very hidden. The language in the film is very exciting, and the Beijing accent is full of flavor. At the same time, they keep the slightly less important plot points to the greatest extent, so as not to reduce the audience's interest, and at the same time play an irreplaceable connection to the plot points. effect. The editing and rhythm control of this film are lacking. There are occasional gaps in the play, and there are also parts of the story that are too fast and too slow, which affects the overall effect of the film.
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