The literary era since 1979

Chapter 127 You call this just knowing a little?

If nothing unexpected happens, there will be no accidents.

"Under the Hawthorn Tree" won with a high vote and will represent Yenching University in the National College Students' Drama Art Festival.

"Whoa whoa whoa whoa."

As soon as the news came out, it immediately caused thunderous applause.

It was as expected. The audience cheered and applauded. The enthusiasm died down after a long time and then they began to leave the stage one after another.

Sitting in the front row, Fangyan had to chat with leaders, critics and editors in the theater industry about "Under the Hawthorn Tree".

Ji Xianlin and others did not leave immediately, but stayed to encourage the winning team, to guard against arrogance and impatience, and to strive to get a good result for Yenching University, and to comfort the losing team.

The History Department's drama team was not discouraged and planned to rehearse "Medea" and "Prometheus Bound" later, performing the three classic tragedies of ancient Greece one by one.

"Nonsense, there are so many good plays out there, why do you have to perform a play about a son marrying his mother?" The head of the Drama Bureau was quite dissatisfied, "Even if you want to perform it, why not perform Thunderstorm?"

"The Thunderstorm is a copy of Oedipus Rex!"

Some people in the drama troupe were very dissatisfied.

When Jiang Wen heard this, he and Li Baotian secretly left the Central Academy of Drama's team and went up to watch the fun.

Wan Fang and Fang Yan also came over.

When Wan Fang heard the word "copy", her face instantly darkened and she was about to have a good argument with her students.

Fangyan also joined in and explained patiently.

Although Thunderstorm draws on Oedipus Rex, the core of the two works are completely different. One is about the theme of fate, while the other is not only a fatalistic tragedy, but also a social tragedy.

"I didn't expect Teacher Fang to know so much about drama."

The more Li Baotian listened, the more he felt it made sense.

Jiang Wen frowned. "That's not right. I just saw the dean and the others discussing drama with Teacher Fang. Teacher Fang told everyone that he knew a little bit. He knew a little bit. What does this mean by 'a little bit'?"

"Did you hear that correctly?"

Li Baotian showed a smile like "Liu Luoguo".

Jiang Wen curled his lips, "If I heard it wrong, I'll chop off my ears and stew them for you as a side dish, but if I didn't hear it wrong..."

"Stop, stop, stop. Why should I eat your ears? If I eat them, I will have diarrhea and die in the pit." Li Baotian joked.

Jiang Wen was not angry at all. Instead, he laughed and said, "Stop making a fuss. I'm not the only one who heard this. If you don't believe me, ask Chen Daoming."

So, the two of them found Chen Daoming and other classmates.

They were seen discussing the performance experience of "Under the Hawthorn Tree" with Xiao Feng. At the same time, reporters from "People's Drama" and "Wenyi Bao" were not far away. They caught up with the director and screenwriter Ying Da, and the heroine and screenwriter Bai Ruoxue for an interview. The content will be reported in the next issue of the magazine.

"We were able to perform so well, thanks to Teacher Fang!"

The answers given by Bai Ruoxue, Yingda and others were surprisingly consistent.

Stanislavsky, Brecht, Expressionism, Methodism, Experientialism, etc., all spoke in their dialects to them, and they repeated them to them as much as possible.

The novelty of his theories and insights is surprising.

A thought flashed through Jiang Wen’s mind: Is this what you call understanding a little bit?

“There is such a thing.”

Feng Fengzi and Ruan Ruoshan looked at each other and were very interested.

“What about the dialect people?

"I just saw him say hello to me."

Seeing that they were looking for Fangyan, Jiang Wen immediately shouted "I know", and then volunteered to ask someone to come over and take a look.

"It is you."

Fangyan narrowed his eyes.

"Hey, Mr. Fang."

Jiang Wen stood in front of him, his edge slightly dimmed.

Fang Yan patted his shoulder and walked over with Wan Fang. It was quite a grand scene. Professors of foreign literature from Yan University, the dean of the Central Academy of Drama, big names in the drama and opera circles, and directors of opera and opera journals were all there, staring at him.

Wan Fang quickly said, "Yanzi has just been studying drama and play with my father for a short time. If there is anything wrong or inappropriate in what I said, please don't be offended, teachers."

"It turned out to be Cao Gong."

When the identity of the "registered disciple" was revealed, everyone was surprised. No wonder Fangyan always had a lot of theories.

It turns out that half of the drama teacher is Wan Jiabao!
As the only junior who was listening in among the big guys, Jiang Wen felt like he had heard some incredible news. His eyes widened as he stared at a man who was about his age.

"........."

Fang Yan glanced at Wan Fang and couldn't help feeling moved.

This is because he is afraid of saying something wrong and getting embarrassed, so he shows himself the amulet in advance. After all, even if he doesn't give Shen Yanbing some face, he has to give Wan Jiabao some face and not make things difficult for him intentionally.

Feng Fengzi was the first to step forward and start the discussion from the basics to the complex ones, which allowed him to get into the mood, and others followed suit to join the discussion.

The topic became more and more advanced, and Ruan Ruoshan suddenly asked a question:
"Xiao Fang, do you think Stanislavsky, Brecht, and Meilanfang are the three major drama systems in the world?
Fangyan did not answer immediately, but learned from Wan Fang that the "three major drama systems in the world" have sparked heated discussions in the drama and opera circles, and even in the literary and art circles.

According to what Bai Ruoxue and others had just said, Ruan Ruoshan mistakenly thought that he was a supporter of the theory of "the three major drama systems in the world."

However, to everyone's surprise, the opposite is true! "I think the world drama system does exist."

"But I think it would be more appropriate to call Stanislavsky, Brecht, and Melanfant a system of performing arts rather than a system of drama."

Fang's words were shocking, causing everyone to look at him sideways.

Feng Fengzi, Ruan Ruoshan and others immediately became interested.

Ji Xianlin encouraged with a kind look:

"There is no right or wrong here. Feel free to speak out. The speaker is not guilty, but the listener should take warning."

"Then I will show off my skills in front of an expert."

Fangyan cleared his throat and told everything he knew.

The saying that Stanislavski, Brecht, and Melancon constitute the three major theatrical systems in the world is actually a rumor, in which the false is passed on as the truth.

This view first came from 1962.

In the drama criticism circles at that time, there were Jiao Juyin in the north and Huang Zuolin in the south. At the National Symposium on the Creation of Drama, Opera and Children's Drama, Huang Zuolin delivered a speech entitled "A Casual Talk on Drama Views", in which he mentioned Brecht, Mei Lanfang and Stanislavsky for the first time.

But it only mentioned the "drama view", and its original intention was to promote traditional opera and enhance its world status.

Then this year, another article with similar views was published, "A Comparison of the Dramatic Views of Melanfant, Stanislavsky and Brecht". This time, Stanislavsky was called the "Stanislavsky System", but it did not say what theoretical system Melanfant and Brecht had, nor did it summarize the three into the "three major drama systems in the world."

The person who put forward this view is Sun Huizhu, a master's student from Shanghai Theatre Academy.

He published "A Preliminary Study on the Aesthetic Ideals of the Three Major Drama Systems" and "A Dynamic Investigation of the Aesthetic Values ​​of the Three Major Drama Systems" one after another, and thus the "Three Major Drama Systems in the World" were born.

It soon sparked controversy and spread more and more widely, but it was completely contrary to Huang Zuolin's original intention.

It only highlights Mei Lanfang, but ignores Chinese opera.

Not to mention that Meipai is just a school of Peking Opera, Chinese opera is not limited to Peking Opera, there are also Cantonese opera, Yue opera, Huangmei opera, Henan opera and so on.

Therefore, Sun Huizhu's view of "the three major drama systems in the world" has too many loopholes and has been questioned and criticized by the literary and art circles.

However, we did not expect that as it became more and more popular, spread over a long period of time, and quoted many times, it eventually became "common knowledge".

It was not until the beginning of the 21st century that it was overturned by the new "World Theater System" theory and corrected into the "Performing Arts System."

“Since you think these three are just performing arts systems, then in your opinion, what are the world’s drama systems?”

Feng Fengzi told him to say whatever he wanted.

"This is what I personally think. Can Greek drama, Indian Sanskrit drama and Chinese opera be classified as the 'three major drama systems in the world'?" Fangyan gave the "standard answer" for later generations.

"Chinese opera?!"

The bigwigs in the opera world who were from different factions from Mei Lanfang immediately became excited, with a gleam in their eyes that they had never seen before.

If it is the Mei-Lan-Fang system, all the glory belongs to the Mei school.

But when it comes to the Chinese opera system, they are not troubled!
Seeing that most people present had no objection, Fang Yan turned his gaze to Ji Xianlin, "Mr. Ji, I only know a little about Indian Sanskrit drama. You are a master of Indian studies and Sanskrit. What do you think of classifying Sanskrit drama as one of the world's drama systems?"

"Your point of view is worth exploring and studying!"

Ji Xianlin originally thought that he was just here to watch the show today, but he didn't expect that it would be related to his academic direction.

As he became interested, he smiled and said:

"Xiao Fang, how did you come up with the idea of ​​summarizing these three types of drama into the 'three major drama systems in the world'?"

"I always remember what my teacher, Mr. Yan Bing, always told me: only what belongs to the nation belongs to the world!"

Fangyan stated his point of view with a serious face.

Wan Fang glanced at him, then looked at Feng Fengzi and other editors of drama magazines. They were all very excited, as if they had found a rare treasure. She could understand their feelings at the moment.

Once Fangyan's theory is published in journals such as "People's Drama", it will be enough to cause an uproar. Not only is it likely to overthrow Sun Huizhu's theory, it is even possible that it will become one of the "three major drama systems in the world" truly recognized by the literary and art circles.

Once successful, this age, this achievement...

It is not an exaggeration to call him a “young drama theorist”!

Watching Fang Yan chatting and laughing with Ji Xianlin and others, Jiang Wen's head was buzzing. Although he couldn't understand what they were saying, he was greatly shocked.

This shock did not completely disappear even on the way back to school. Jiang Wen remained silent and walked with his head down.

"Why didn't you say anything the whole time?"

Li Baotian came over.

"say what?"

Jiang Wen's eyes were wandering.

"Speaking of Teacher Fang, I just asked Yue Hong, and he did say that he only knows a little bit, but I think that's because he's being modest."

Li Baotian joked, "How many people are as outspoken and aggressive as you?"

"Teacher Fang, that's not called 'humility'."

"What's that called?"

"Low-key."

Jiang Wen couldn't help but shiver: "Be low-key, understand? Damn, Teacher Fang, you are so fucking awesome!"

(End of this chapter)