A Review of the Drama Teahouse

After reading a work, there must be many experiences worth sharing. It's time to take some time to write. Don't think you can handle it casually. The following are my comments on the drama Teahouse for reference only. Let's have a look.

This weekend, I was holding a cup of hot chrysanthemum tea in my hand and enjoying my long-awaited drama teahouse alone in my dormitory. This is a three-act drama, which tells the story of the rise and fall of a teahouse in Beijing from the early years of the Republic of China to the eve of the regime collapse of the northern warlords after the failure of the Reform Movement of 1898 in the late Qing Dynasty. Mr. Lao She actually concentrated the situation, contradictions and conflicts of the whole society at that time in this Yutai teahouse. It looks like chrysanthemum tea in my cup. Although I have drunk it, it is delicious.

In the drama Teahouse, the person who impressed me the most and appreciated me the most was Wang Lifa, the owner of Yutai Teahouse. Wang Lifa, a smart young boss, tried his best to make his father's teahouse flourish in his hands, and made every effort to extend in all directions and make ends meet. However, in the end, he couldn't escape the cruel fate, and he could only take his teahouse and be swallowed up by ruthless society. Such a person with distinct personality caught my eye from the beginning of the play. The evaluation of Wang Lifa in this play is: it is difficult to distinguish between true and false, and it is ever-changing, just seeking warmth and peace in the world. At first, I thought Wang Lifa was a kind person, because in the first act, he went into the teahouse wearing a sloppy Tang Tie mouth and asked for a bowl of tea to quench his thirst. Wang Lifa began to think that the dirty mouth of Tang Tie would affect his business. Although he didn't believe Tang Tiezui's fortune-telling, Wang Lifa found a seat for Tang Tiezui and brought him a bowl of tea. The sentence that impressed me the most in this clip is that Wang Lifa said to Tang Tiezui, "We are all bad karma." This sentence reflects Wang Lifa's deep helplessness. The weakness and incompetence of the Qing government made people live in dire straits, and the signing of various unequal treaties made people breathless. Wang Lifa is one of the squeezed people, and his inner anguish and pressure may be enormous. From his helpless words, how many vicissitudes and helplessness can be heard. This is one of the reasons why I admire him. In such a ruthless society at that time, Wang Lifa was still a well-meaning person.

Secondly, I think Wang Lifa is a very balanced person, but at the same time he is a person worthy of sympathy. Because in the first act, there is a scene in which two German sons often fight, Wang Lifa did not directly stop the quarrel, but a buddy was on the left and a grandfather was on the right. The actor's perfect and lovable face simply highlighted Wang Lifa's versatile character. He was afraid of offending people and losing guests, so he had to bow his head to please them, and even Mr. Song didn't have to pay for the broken tea bowl himself. Although I think he may be unwilling, he can endure anything and do anything for his ancestors. Therefore, behind this symmetrical face, I am not laughing at him, not despising him, but actually sympathizing with him. In the face of such a A Qing government, even people can only survive. Wang Lifa is a small businessman at the bottom of this society. Besides making a living for himself, he must always think about how to prosper his ancestors. When I watched it, a voice was shouting in my heart. In fact, this may not be his original intention, but for the sake of livelihood and ancestral business, he has no choice but to gradually become such a person. As he said, "In the street, popularity is the most important thing. According to the old method left by my father, I will say more good things and pay more respect to make people like me, so that nothing will happen! " In fact, in this dark society, Wang Lifa may feel at a loss. The sudden death of his father forced him to stick to his ancestral business. He didn't know what to do, so he had to do as his father said, and finally he became such a charming, well-proportioned and intelligent young businessman.

Wang Lifa is a very cautious and considerate person. He will have different ways to deal with different people. He is very clever in this respect. For example, we can see that in the second act, Wang Lifa's attitude towards refugees is dissatisfied and ignored; In the face of patrol orders and extortion, he also responded properly; When facing Cui Jiufeng, the tenant of his apartment, he can listen to his complaints patiently. Although I know he may not understand them in his heart, he will pretend to understand and say something flattering from time to time. All these reflect his compromise and exquisite lifestyle, what's more, in such a dark and depraved era, even in today's developed era, this way of doing things can also get him some benefits and avoid some troubles.

Moreover, Wang Lifa had the characteristics of most people at the bottom of society at that time: timid and selfish. Although he really sympathizes with the suffering people who have to sell their daughters because of poverty, he is also afraid that he will get into trouble after helping them. He also feels that people like them can't care so much. People who suffer are here every day, and only more and more. I remember he said to Grandpa Chang, "There are too many things on this road, so right! No one can control it! " Yes, although he sympathized, he was also timid and afraid, and because he only wanted to worry about his own selfishness, he chose to drive away the refugees rather than protect them when the patrol arrived at the door of his teahouse. And the plight of Li Sanhe Kang. Although deeply sympathetic, what he can do is very limited. It's not entirely his fault. It's also his fault. This dark age has made his mind like this. Sometimes he has to do this, because he is not alone, and he has ancestors to rely on, so he can't fall. However, despite his shrewdness, forbearance, compromise, versatility and timidity, he finally failed to resist the oppression of various reactionary forces and had to die with his teahouse sadly.

I think Wang Lifa is still a person who is unwilling to give in. He is a hard worker. With the changes of three periods, Wang Lifa is constantly improving his teahouse, just to keep himself in line with the trend of the times and prevent the teahouse from closing down or being taken away by others. In such a ruthless and hard era, Wang Lifa always thinks about how to improve and innovate. He was sad and resentful, but he was unwilling to give up like this. He doesn't want to look at himself. However, in such a dark and depraved era and such an incompetent government, no amount of resistance is useless, and the enemy cannot compete with the oppression of various reactionary forces. He struggled to survive in this troubled times, but he failed in the end.

Seeing the ending of this play, I am really sad, sad and unbearable. I can't help but think of what Wang Lifa said: "This year is worth thanking!" When he said this, his seemingly calm expression was full of endless sadness, resentment and helplessness. Yeah, what can a low-level person do? How good can he be? In the end, he could not escape the devouring of the reactionary forces. Wang Lifa can't bear to see that his ancestral business, which he has worked so hard to support, will be occupied by others. Knowing that he was unable to struggle, he could only choose to die in his safest place when the teahouse still belonged to him, which was his ultimate destination. Wang Lifa, such a contradictory and tragic figure at the bottom of society, deeply shocked my heart. His strength is too weak, so he doesn't expect much. He was just a calculating little businessman who resigned, but he ended up with a tragic ending, which really made people cry.

In a word, Wang Lifa, a character with independent personality and characteristics, is what I appreciate most in this play.

The second review of the drama Teahouse coincided with the purchase of DVD, and I was lucky enough to watch the performance of Teahouse by Beijing People's Art Theatre and write down some humble opinions.

At first, the whole stage gave me the feeling that it was very depressing and chaotic. The orderly architecture of the teahouse is gone, and the whole stage is supported by a few thick, unadorned wooden columns and built in disorder. The typical windows in old Beijing are crooked, the perspective of the doors and windows is seriously wrong, and the whole stage frame seems to be falling down. The background color is a very depressing and unsafe grayish yellow, which shows that this stage clearly expresses to the audience how unreasonable the social environment was at that time, and what runs through the whole play is chaos. From an artistic point of view, this is an expressionist technique that rose in Europe and America at the beginning of the 20th century.

The background of the teahouse in the first act is that after the failure of the reform, it should be the most prosperous period of the whole drama teahouse. However, the teahouse in front of us is still shabby and messy, and you can't see how prosperous it is. You can only hear shouts, talk and drink like thunder. The actors have a very good grasp of the role, which should be deliberately arranged by the director and stage designer.

But in my personal cognition, according to the main theme of the whole play, I don't quite agree with such a beautiful dance design. Paying attention to one thing and losing another is my greatest feeling about this design. The designer's intention is clear, symbolizing the stage background, diluting the background and focusing on the wonderful details of each actor. If handled well, the whole play can shine brilliantly. It happened that in the first act and the second act, the dependence between the crumbling stage scenery and the actors of that era was very abrupt. The scenery is a silent performer on the stage, and the plot of the teahouse is declining. The passionate edges and corners of the characters are gradually smoothed out with the rush of the times. People are old, the lights are dim and the atmosphere is even more chaotic. The stage scenery is messy from beginning to end and seems to run through the whole.

These are all because the script is not sure about the overall law of the times. It is already difficult for actors to perform in it, and the audience feels as if they are blindly involved in irrelevant information and can't put themselves into the atmosphere. With the passage of time, the "inclined structure" at the beginning of the stage determines that the stage can only make minor changes. At this time, the actor's performance is like a solo performance completely out of the stage. Until the last scene, the ending of the song is a foregone conclusion, and the characters are scattered one by one. The initially chaotic society has not changed, but is covered by a more chaotic system. At this moment, the skewed stage, the characters at this moment, suddenly felt a little suddenly enlightened and found the direction. At first, the stage atmosphere was very depressed, but in the end it was very depressed or even more depressed, and there was no change. If there is no bright spot in the music melody to light up the play, the audience will feel heavy besides aesthetic fatigue. The idea of stage design is great, but the fly in the ointment is that.

Expressionism should be closely combined with lighting. Without the shaping of lighting, expressionism is difficult to show its potential creativity and expressiveness in its generation. The creative form of Teahouse script determines that the teahouse does not need to use too many lights. Unlike Shakespeare's plays, Shakespeare's plays are like a duck to water in symbolism and expressionism. The greatest significance of Teahouse lies in the description of historical background, so Teahouse is abrupt on the above stage. It needs to be carefully considered in the drama to conceive Lao She's Teahouse on the stage of expressionism.

The whole play is not long, but through various dialogues and relationships between the characters, it subtly reveals the social outlook of War of Resistance against Japanese Aggression after the failure of the Reform and Reform, the warlord regime after Yuan Shikai's death, and I have to admire Mr. Lao She's greatness. The whole play is tepid, the characters are arranged just right, and the language image depicts the characters incisively and vividly. There are many people with no party affiliation and different social positions in the play, and finally the ending is given. No matter whether they are sad, happy, lucky or disappointed, there is still the role of the next generation to continue the previous generation. Everything turns around, the teahouse exits, and the contradiction between the times and the characters continues.

Comment on the third episode of the drama Teahouse The Teahouse is directed by Xie Tian and supervised by Chinese mainland. Film duration 1 18 minutes, release time 1982.

At the turn of the century, ancient China is undergoing unprecedented changes. The doddering Qing dynasty is teetering, and the blood of the six gentlemen can't stop the rolling of the wheel of history. Over the old Beijing, it is unpredictable. Wang Lifa (Yu Shizhi), the small shopkeeper of Beijing Yutai Teahouse. He remembered his father's teachings and greeted guests from all over the world with dignity and consideration. In the small teahouse, people of all kinds shuttle here: Song () carries a birdcage and laments his ill-fated fate; Lamenting the fortitude of national subjugation, Manchu people often (Zheng Rong); Qin (Lan Tianye), who is bent on saving the country through industry; Pockmarked Liu (Ying Ruocheng), the buyer and seller do whatever it takes; Eunuch Pang () who wants to marry his wife ... You can sing and I will appear, and the vicissitudes and desolation of the world will be staged in a small teahouse. ...

This film is adapted from Lao She's original work of the same name, and won the Special Award of the 3rd Golden Rooster Award of China 1983 and the Excellent Film Award 1982 by the Ministry of Culture.

Although this original work has been famous for a long time, no one has seen it in books, movies, TV dramas, dramas and other forms. I feel full of gains after reading it today, so I should read it earlier. The other day, I took advantage of the reading festival to engage in activities, and I have bought Mr. Lao She's collected works, most of which are classic works, including this teahouse.

In the old film of 1982, you can still see some shadows of old Beijing, such as the tall gatehouse of the teahouse. With the development of these years, most old buildings have been demolished. There is also a strong Beijing flavor, and the language features are outstanding. Character dialogue sounds like cross talk. There is a saying (can't) that I have heard from others before. At first, I thought they said that on purpose. This time, I heard the old shopkeeper often talk about it in the film, only to understand that the original source is here.

Read classics, gain knowledge, experience and insight.

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