Complexity And Pluralism Of Character Building

Speaking of Mr. Cao Yu, I first think of thunderstorm. The eight characters in the play are skillfully woven by the author in a tragic net. Each character has his own experience and dream, his own psychological tendency and emotional pursuit, and contradict and collide with each other directly, indirectly, implicitly, and naked.

Everyone regards himself as a node and forms a multidirectional relationship with fate and emotion.

Fan Yi is chasing Zhou Ping. Zhou Ping and Zhou Chong chase four Phoenix at the same time. Four Phoenix and Zhou Ping are half brother and sister. Lu GUI is a servant in Zhou Jia, and Lu Hai is a worker in his father's mine.

The kinship of the characters is too much to play, and it promotes the survival and fate of characters.

What we can not help thinking is that how can Mr. Cao Yu do this? Why can he be able to be so profound when he observes and examines his characters, and even finds the "struggle" of each life, so that the image has strong vitality and artistic penetration?

A lot of experts who studied Mr. Cao Yu's dramas attached great importance to the way of thinking of writers, and further explored the influence of this way of thinking on "Lao Tzu", "Buddhist scripture" and "Bible". This has some truth, and has given us a deep understanding of Cao Yu's many useful enlightenments.

What is the pulse of Mr. Cao Yu's creative ideas?

In other words, what kind of artistic conception does Mr. Cao Yu follow in shaping characters?

I think, from his plays, we can first see his thoughts on the times and life, rather than from the local and the superficial aspects, but put the characters in the historical process and development, although they are only "on the stage", but they contain and hide the past, present and future of the characters. The characters are always rich and generous, and only rich can "make people clear". Therefore, Mr. Cao Yu pays great attention to exploring the dynamic process of human life, and uses a way of thinking to grasp the process of life to analyze characters, to see characters and create characters.

Mr. Cao Yu writes about life. This kind of capture and awareness of the process of life will undoubtedly see the characters in the play as a "flowing body". In this dynamic process of life, we can fully display the complexity and diversity of the characters, grasp the origin and trend of the characters, and let the audience understand the essence of life from the stage.

Speaking of this, I think Zhou Puyuan in thunderstorm is a typical example of interpreting the author's creations.

In the past, people always regarded Zhou Puyuan as the maker of tragedy and the evil representative of autocracy, cruelty and hypocrisy. In fact, is Zhou Puyuan not the bearer of a tragic fate?

When Mr. Cao Yu talked about the creative intention of thunderstorm, he once made such a statement: "I use a kind of compassion to write the disputes between the characters in the play. I sincerely hope that the people watching the opera will also look down at the people on this group with a kind of pity.

I was a poor master, but I invited the guests to the throne of God, and looked down at the creatures that were crawling under the mercy, and how they blindly fought and clung, loach in the emotional pit of the fire and beat themselves in a coma.

They are like a horse in a swamp, struggling and falling deeper into the mire of death.

In thunderstorm, the universe is just like a cruel well, falling inside, and how to call out the dark pit.

Isn't Zhou Puyuan a lean horse in the swamp?

Is Zhou Puyuan not more struggling and deeper in the mire of death than other characters in thunderstorm?

It should be admitted that Mr. Cao Yu mercilessly exposed Zhou Puyuan's autocracy and cruelty, but the author also wrote another aspect of Zhou Puyuan's character, that is, his love with Ping Ping and his guilt and repentance towards the fate of Ping Ping, whom he had abandoned.

If the former is only the former, Zhou Puyuan's image will only become a kind of diagram and type. Without flesh and blood, no richness and no reality, it will greatly reduce the depth of realism that the author has to show in this character, and also greatly weaken the author's history and thinking of the times.

Is true love between Zhou Puyuan and Ping Ping at first?

We have no reason to attribute it to hypocrisy. They have two children. Zhou Puyuan moved several times and even moved from Shanghai to Anhui. They kept the remains of Ping Ping, retained the furniture and layout of Ping Ping's favorite furniture.

Is this kind of nostalgia for old lovers to be seen?

Besides, he often stares at the photos of Ping Ping on his own for a long time.

Besides, this has been the case for 30 years, so it can not be regarded as hypocrisy, but a sincere memory. It is also an important psychological reason for Zhou Puyuan's rejection of Fan Yi for a long time.

In the play, these are true aspects of Zhou Puyuan's psychology and character.

It was suggested that since he really loved Ping Ping, why did he turn away when he walked into the house 30 years later?

In fact, it is not difficult to answer that no one can get rid of the limitations of the times, society and class in which he lives. Naturally, Zhou Puyuan can not dominate his fate in that "mire", and his rebellious consciousness can not break through the net of that era.

When Zhou Puyuan finally forced Zhou Ping to recognize his mother in the last act, he further showed his affection for Ping Ping.

The tragedy of Zhou Puyuan is still that a son has become against his enemies with the workers, and the other son is in harmony with his wife.

From this we can see that Zhou Puyuan's "nostalgia" plot has been running through the drama all the time, which is decided by Mr. Cao Yu's way of thinking in grasping the process of life. When creating figures, he investigates more about the social and historical motives and human motives of his character composition, and presents more life from the deep connections between characters and society and history, so that the psychological tendency and character of the characters are complicated.

On the one hand, the author rip off the feudal features of the characters one by one. On the other hand, every time we tear off the feudal features of a character, we can see that the human nature and individual feelings of the characters are faced with helpless choice, huge impact, or even vanishing. The price is heavy and real.

Other characters in the thunderstorm, such as the life hardships experienced by Ping Ping, Fan Yi's "eighteen years living in this living hell", Zhou Ping's soul suffering, the cost of life paid by four Phoenix and Zhou Chong, and so on, Cao Yu's analysis of the historical evolution and life process of the characters is all about the richness of history and reality.

If we go to write Fan Yi, perhaps pen and ink only fall in the suffering of feudal autocracy she has been subjected to, but Mr. Cao Yu also wrote Zhou Puyuan's cold shoulder, no love and exclusion in the past 18 years. This will put the emotional relationship between the characters in the "54" era of marriage and love to grasp the general category, let us see Zhou Puyuan's gradual conversion to the feudal order, because of his thought habits and the family pattern of the patriarchal clan system.

The purpose of the above is to illustrate that Mr. Cao Yu has a unique way of thinking when he portraying characters. He grasps the process of life as a whole and presents the complexity and diversity of "historical man".

As a result, the characters in his novels are very thick, very long, very real, and very fresh.