Their Stories and Our Stories —— The Death of Spring

Drama: The Death of Spring

Producer: Nine plays.

Actors: Lu Fuyang (Gu Jingwei), Xu Wenxin (Qu), Li Xiaohui (Ding Xilin)

Venue: Guangzhou Grand Theatre

I finally saw the yearning "Death of Spring", which was somewhat different from my imagination. This work is lighter and more humorous than I expected, but I quite agree with Ding Xilin's point of view on drama-you don't have to break your head, you can also find humor in your daily life. "Ease" does not mean that "problems" are not reflected in the story, and "value" has always only a serious side.

The feeling in the process of watching the drama is similar to the feeling that the name "Death of Spring" gives me. I forbear, restrain myself, and tell the story of the past in a light and slightly sad tone. There are happiness, sadness and dissatisfaction, just like a flowing stream. Even if the bottom is undercurrent, the water surface is still calm. As an audience, it's like putting your hand into the water. I always feel that it's coming, it's coming. What is this? At the end of the story, the light came on again. With the subtitle "For You Who Walk Together", Gu Jingwei and Qu danced hand in hand in music, and the feelings accumulated in their chests broke out in the eyes of mutual trust and attachment.

Yes, this is what I want!

Compared with domestic film and television works, there are many excellent drama works, but there are not many female themes. More often, I can only praise the good female characters in a certain work, or regret that although the work is excellent, it lacks female figures.

Death of Spring is not perfect, but it does not prevent it from being a good work, an excellent work and a good work with a female theme. It expresses women's pursuit of career in a straightforward way, accuses women of their difficulties in work, and shows the relationship between women through the dialogue between stories and characters.

Different from the bitter crying and crying, the story of Spring Death seems to be expressed in a relaxed way because the story is "the past", but I believe every female audience sitting under the stage knows that those "there is no women's toilet in the research institute", "the old lady who is not married at the age of 35 will definitely be angry with you" and "women are not suitable for physical research, so don't waste the resources of studying abroad at public expense".

When I first visited Jing Wei and Qu, I couldn't help wondering whether there was a "stereotype" in characterization. The 35-year-old single fashion female doctor wears a cheongsam and drinks foreign wine, thinking about blind date every day, and the 23-year-old assistant researcher wears a suit and trousers, just like the thinking mode of "science and engineering man (woman)" that we ridicule now. She only cares about work and can't even comfort people.

But when you think about it, she was 35 years old and still single. As the only female researcher and doctor with overseas study experience, she is free to choose a spouse and has the right to say "no". Gu Jingwei represented the progressive women at that time. I don't know the amorous feelings, straightforward. All I can think about is work and experiments. Maybe I deliberately removed the femininity. Qu was also a representative figure of "rebellion" at that time.

One is the stereotype of modern women in the Republic of China, and the other is the stereotype of modern "scientific women", both of which are ways to resist the oppression of women by traditional etiquette in that era.

Later, Ding Xilin told Xiong Jian that he was wearing a cheongsam. For Xiong Jian, is it for Jing Wei's saying that "wearing cheongsam must look better", or is it no longer necessary to resist "stereotypes" through suits?

More interesting is the relationship between Gu Jingwei and Qu.

Gu Jingwei and Qu Du 12 years old. In turbulent times, their concepts and living habits can be equivalent to two generations. In addition, there is another point of view in the play, namely "successors". Gu Jingwei said to Qu, "Madame Curie sent you." Yes, now all our rights are actually hard-won by our ancestors. We should make good use of our rights as successors. Therefore, for Gu Jingwei, Qu is not only the relationship between tutor and research assistant, but also the inheritor of the legacy left by Madame Curie to female scientists (scientific career and women's status rights). So the "mother-daughter relationship" mentioned in the play is established. Besides Gu Jingwei and Qu, Gu Jingwei and her grandmother are also "successors". She encouraged Gu Jingwei to go to school and set up a girls' school, hoping that more women could receive education and take control of their own destiny.

Gu Jingwei is the only female researcher in the institute, and the appearance of Qu makes her not the only one. This is an "heir" (from scratch, from one to many), but also a "comrade-in-arms", a comrade-in-arms who fought for the cause of physics and broke the imprisonment and oppression of women. This reminds me that we not only inherited the heritage of our ancestors, but also fought and struggled with our ancestors-a long time for individuals, but only a moment in the long river of history.

The relationship and emotion between people are never single, only love, friendship or affection. Lovers can be relatives, friends can be lovers, and relatives can also be friends. The feelings between women can quarrel for pursuit, fight side by side for ideals, compete with each other, help each other, repel each other and influence each other, and these relationships can coexist. Contradiction and unity, this is the charm of emotion. We don't have to figure out what this is, we just need to feel it with our hearts.

I walked out of the theater in tears, and I couldn't tell whether I was moved by the feelings of Gu Jingwei and Qu, or because I was happy to see a good play.

Maybe, you don't have to distinguish.