Chapter 79 Classical Chinese and Dramatic Arts

In today's era, if there are still people who advocate classical Chinese, it will be regarded as outdated.However, Chinese writing skills and classical Chinese still have their magical effects in literary and artistic creation, which cannot be compared with, or even achieved by, the vernacular.If we insist on using the vernacular everywhere, it will reflect its ugliness and lose its beauty. In terms of drama art, it is even more overkill nowadays to force the vernacular without distinguishing between the ancient and the modern, which is really nondescript, and the ancient characters are also full of modern language, which makes people feel very awkward. What is this trick?It is neither a drama reform nor an artistic creation. It is simply an act of killing Chinese classical literature and art. How can I bear to ruin it like this!

The beauty of Chinese characters and classical Chinese is that they are both concise and expressive, especially when they are used in drama art, describing the private relationship between children, or expressing the secret plot of romance, the kind of subtlety that can make people smile The beauty of beauty cannot be achieved by vernacular or colloquial words, and it is even impossible to express it in vernacular.In this way, how can we forcibly turn all classical drama literature into vernacular? For example, in the twenty-first episode of the ancient version of "The Palace of Eternal Life", in the scene "Peeping the Bath", Tang Minghuang and Yang Guifei take a bath together in Huaqing Pool, and two old palace servants, Yongxin and Niannu, wait outside.Yongxin said: "Sister Niannu, look at the love between Long Live Lord and Empress, it's really enviable."Niannu said: "Sister, you and I have served your mother for many years. Although you have seen the beauty, you have not seen the jade body. Today, I will try to take a peek from the gaps in the beauty. How about it?"Yongxin replied: Exactly!

So, the two palace men peeped at the bath together, singing lyrics together or singing to each other. (Chorus) Peeping quietly, with a graceful body, just like a calamus floating on the waves, revealing its beauty with dew.The light arms and wrists eliminate the fragrance and greasy, and the waist is gracefully rippling. (Yongxin sings) It is clear and naked, and the skin is moist. (Nian Nu sings) A trace is crisp through the double buds. (Singing by Yongxin) A little bit of spring hides a small musk navel. (Nian Nu sings) I love to kill the red scarf, and my private parts are slightly exposed. (Bai) Sister Yongxin, look at the Lord Long Live

From the libretto description of these two palace people, not only the image of Yang Yuhuan nude bathing is ready to come out, but also a vivid scene of double bathing, but it is only beautiful and does not make people feel yellow. To the ear, this is the implicit beauty of classical Chinese, and the wonderful use of literature and art in such places.But if it is described in vernacular, can it still be spoken?Even if it could be described in vernacular, it would be ugly.Try to translate the dialogue and lyrics of this scene in vernacular, but how much of its beauty can still be maintained?

This kind of dramatic art literature can be seen in many ancient operas, but most of them have never given people a sense of obscenity, which is the subtlety of classical Chinese.Although it is impossible that it is the daily discourse of people in ancient times, if it is embodied in the creation of literature and art, it cannot but beautify it in words.If we compare it with modern works, it seems that it is not appropriate to force them to be vernacular regardless of genre.It is the same inadequacy to eat the past without changing it and eat the present without changing it. Furthermore, as far as the screenwriting skills of the ancient version of "The Palace of Eternal Life" are concerned, the indirect method is adopted, using the words of the two court ladies to describe and compare, plus expressions, to replace the eyes of the audience, thus creating a moving scene. It seems that the audience has also seen the picture of the double bath.For this kind of dramatic plot, this is the only available way of expression, and it is absolutely impossible to perform all the scenes in the bath from the original.

Even if the latest trendy modern Western movies and TV drama programs, no matter how they seek breakthroughs, it is impossible to present the similar double bath scene in front of the audience.If a layer of cicada gauze is used, or a layer of Vaseline is applied, the fog blurs the lens, and it is faintly visible on the screen, but it is still not as delicate and real as using indirect language descriptions.In the handling of this kind of dramatic plot, the implicit beauty of classical Chinese and the power of dramatic language are even more important. We can't discard all the writing because of excessive whiteness. For dramas in ancient costumes, we should certainly retain the beauty of classical Chinese literature and art, but why can't we use classical Chinese for modern dramas?For example, in the most common love stories of modern young men and women, occasionally a poem in ancient style is created by the characters in the play to replace a letter expressing love. Isn't it beautiful?It is better to express the characteristics and characteristics of Chinese culture and art than a Western poem (also known as a new poem).Don't think that modern Chinese youths have isolated themselves from ancient Chinese literature. You must know that there are many young people who are interested in learning Chinese calligraphy, painting, and poetry, and their number is increasing day by day.

Western classical dramas, including operas and stage plays, are as enduring as Western classical music.In these Western classical operas, there are still many ancient characters, just like Chinese classical literature, which are as primitive, but they are not rejected, and the same performances are still popular, which has nothing to do with their scientific modernization. There is no conflict, and it has no bad influence on the development of other people's modern literature and art, and it will not be regarded as retro.It all depends on the fairness of concept and consciousness and the balance of psychology.

Chinese literature is a rich treasure and a root of Chinese culture, which can be discovered and developed by anyone.And classical Chinese is not just a useless antique, it still has its practical value in many aspects.In terms of dramatic art, classical Chinese still has its place to be innovated, it just depends on whether it can make a difference.