Wang Lian

Wang Lian

Wang Lian (1925-2011.10.10), formerly known as Wang Shuxin, is a famous dramatist and film playwright. Born in 1925 in an old official family in Jinan, Shandong Province. He is a member of the Communist Party of China. Director of the 5th, 6th and 7th Shanghai Writers Association, deputy director and director of the 5th and 6th drama and film creation Committee. First class screenwriter. Published in 1948. He joined the Chinese Writers Association in 1960.

Character experience

When he was in middle school, he rehearsed with his classmates such famous plays as thunderstorm and sunrise. In 1947, he graduated from the Chinese Department of Furen University in Peking and worked as a Chinese teacher in a middle school in Jinan. In 1948, Wang Lian joined the art troupe of East China University, then changed to the art troupe of East China People's revolutionary University, East China People's Art Theatre, East China dialect theatre, and finally merged into Shanghai People's Art Theatre. During this period, Wang Lian successively served as a screenwriter and director, and his works included "the song of communism", "the spring of withered wood", "three sisters", "Rhapsody of the motherland" and other drama scripts.

In 1961, invited by the famous director Zheng Junli, he adapted his famous work "spring in the withered wood" into a movie script and began to set foot in the film world. In the adaptation of Kui, we should try our best to reduce some conceptual and graphic parts in the original play, and strive to move people with emotion. Through this cooperation, with the help of Zheng Junli, Wang Lian gradually mastered the film language and creative skills, and got rid of the shackles of stage play. In this year, China's three-dimensional film came out soon, but there was not a feature film. The famous director sang arc invited Wang Lian to work together to create the three-dimensional feature film The Adventures of the magician, which was welcomed by the audience with a new form and strong comic color.

Youth

Wang Lian especially loves to watch drama. No matter in the summer party of primary school or in the performance of the public education center near the school, as long as there is drama, he is always an enthusiastic small audience. In middle school, he actively participated in amateur drama activities, rehearsed thunderstorm, sunrise and other famous dramas with his classmates. In 1943, he was admitted to the Chinese Department of Furen University in Peking, studying classical literature. Under the background of Japanese occupation and land loss, he highly respected the patriotic general Xin Qiji of Song Dynasty, and could not put down his poems. When he graduated, he wrote "notes on Xin Qiji's Poems".

After study

In addition to his study, he is still as interested in drama as before, and has performed such dramas as Chenyuan and grand circus. In 1947, he graduated from university in the sound of the civil war and worked as a high school Chinese teacher in a middle school in Jinan. At this time, the patriotic and democratic tide of anti hunger and anti civil war swept across the country and impacted the reactionary rule of the Kuomintang. Deeply influenced by it, Wang Lian boldly publicized it to the students in class, and in August of the next year, he resolutely went to the liberated area of Weifang, Shandong Province, to join the literary and art troupe of East China University and join the revolution.

After going south, the troupe became the troupe of East China People's revolutionary University. After the liberation of Shanghai, it was successively changed into East China People's Art Theatre and East China dialect theatre, and finally merged into Shanghai People's Art Theatre. During this period, Wang Lianren was the director and also in charge of some administrative work. He participated in the rehearsals of "white haired girl", "enemy without gun" and some small operas. He also went deep into Anhui rural areas to carry out land reform and participated in democratic reform in Shanghai factories.

Lay the foundation

He joined the Communist Party of China in 1953. The flames of the war of liberation and the complicated struggle in the early days of the founding of the people's Republic of China tempered him and changed his thoughts and feelings greatly, which provided important conditions for his later creation. For a long time, Wang Lian yearned for the creation of drama. As early as in the literary and Art Troupe, he wrote some one act dramas in order to cooperate with the task. He also made some creative preparations when he participated in the democratic reform. It was not until 1958 that he and Chen Gongmin worked together to write a drama "the dawn of Huangpu River", which reflected the life of workers. In the same year, he wrote "the song of triumph of communism" based on the touching story of treating Qiu caikang's extensive burns. The performance of these two plays laid the foundation for him to become a professional screenwriter.

personal works

Making movies

Black Dragonfly (1984)

You yuan (1984)... Screenwriter

Rondo for Guitar (1986)... Screenwriter

The director's boyfriend (1986)

A man and a woman (1988)

They and them (1979)... Screenwriter

"Youth" (1977)... Screenwriter

Li Shanzi (1964)

"Spring in the dead wood" (1961)

The adventures of the Magician (1962)... Screenwriter

Kuguo (1981)... Screenwriter

Love on the sea (1980)... Screenwriter

Drama works

Dead wood in spring (1959)

The return of the swallow (1963)

Jiao Yulu (1966)

Three sisters (working with others, 1978)

Stories from death (1979)

Why was she killed (1980)

Xin Qiji (1980)

Rhapsody of the motherland (1981)

Peking Opera script the soul of black water (cooperation with others, 1978)

Work style

The themes are diverse, reflecting a wide range of social aspects. The works not only reflect the lives of workers, farmers, cadres and intellectuals, but also show the young people and historical figures who have fallen behind. They have delicate and sincere feelings and strong lyric style, especially good at digging out the rich inner world of the characters and depicting the characters with good heart, sympathy and sense of justice. The language is fresh Natural, no matter carve, form does not stick to one pattern.

Among the works, the early "withered wood in spring" and the later "Xin Qiji" and "Rhapsody of the motherland" are more prominent. "Spring in the dead wood" is his famous work, which has a great influence in China.

The play successfully portrays the heroine Ku Mei Zi's image, which reflects the great changes in the fate of millions of schistosomiasis patients under the party's kind care. In shaping the image of kumeizi, Wang Lian made great efforts to show her strong yearning for labor, love and socialism after suffering from advanced schistosomiasis, and revealed her kind and beautiful heart. He also shows her rich inner world through the description of the drama entanglement between Ku Mei Zi and Fang Dong GE's family. Ku Mei Zi meets Dong Ge, who has been separated for ten years. When Fang's mother learns of her illness, she advises her not to communicate with Dong Ge, and she suppresses her feelings and tearfully refuses Dong Ge. These plays are not only dramatic, but also give a detailed description of her complex inner feelings, which makes this image produce touching artistic charm. The image of Ku Mei Zi comes from Wang Lian's deep feeling of life. He was infected with schistosomiasis on his way south in 1949, and he had a personal experience of it.

Creative process

In 1958, in the process of writing, Comrade Mao Zedong's famous poem "send the God of pestilence" was published. He was moved by the leaders' deep concern for the people's health, and was inspired by the profound artistic conception of the poem. Then, when he lived in schistosomiasis endemic areas in Shanghai, Jiangsu, Dongting Lake, huanggai lake and Poyang Lake, he was deeply excited by the changes in the fate of many schistosomiasis patients and the spirit of schistosomiasis control workers. It was from his life that he got the passion of creation and summarized and refined the typical artistic image of Ku Mei Zi from many rural women with similar fate. The script has a clear, delicate, lyrical style and strong local color in the south of the Yangtze River.

The first draft of Xin Qiji was written in 1963 and published in 1980. The play takes Xin Qiji's experience in the last 20 years, and focuses on his tragic experience of persisting in resisting Jin, being repeatedly obstructed, and finally failing in his ambition. Wang Lian studied Xin CI in the University, and then mastered a wealth of historical materials. On this basis, he focuses on depicting the noble quality of Xin Qiji's persistent patriotism after several tribulations. The proper use of Xin CI in the play is not only conducive to rendering the environment and atmosphere, revealing Xin Qiji's thoughts and feelings, but also makes the whole play have the characteristics of simple and elegant. His latest work "Rhapsody of the motherland" describes the development of sincoe and Rosalie, the revolutionaries of the old generation, from pure love to lofty revolutionary friendship in nearly half a century. In contrast, Lin Dai, a young man, who can't withstand the temptation of foreign material conditions and personal interests, betrays his good feelings with his girlfriend Chen Qiao and even wants to leave the motherland.

Wang Lian entangled the similar but different fates of the two generations in order to reveal a kind of thought: "among us, no matter which one's fate is closely related to the fate of the motherland, any fate independent of the motherland does not exist.". ① The play combines love, flesh and blood feelings and friendship with deep feelings for the motherland, which has a strong lyrical color. In form, he grafted some means of expression of films, novels, operas and music into the drama, making the script novel and unique. Wang Lian is not only a prolific dramatist, but also a prolific film playwright.

In 1961, Wang Lian was invited by the famous director Zheng Junli to work with him to adapt "spring in the withered wood" into a movie script, so he began to set foot in film creation. In the adaptation of dead wood in spring, they try to weaken and eliminate some conceptualized and illustrated Parts of life in the original play, and strive to move people with emotion. For this reason, they further highlighted the fate of Ku Mei Zi, closely around Ku Mei Zi and her dramatic entanglement with Fang Dong's family to unfold the plot and portray the characters, making Ku Mei Zi's image more colorful and moving, and deepening the theme. They also studied moon worship and Liang Shanbo

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