Notes on tea house

Lao She's Teahouse is a masterpiece of drama. I've seen it many times, and I've also seen movies. Some people call it the funeral song of three dark ages, which exposes all kinds of unfair social reality. And the Chinese character hanging in the teahouse, without talking about state affairs, is like a signboard without money, holding the mouth of ordinary people. In every era, the story of everyone who came to power, regardless of sadness or joy, will always be a case of breaking state affairs, a kaleidoscope or a peep show. Teahouse is such a concentrated expression of social contradictions, and it can't run away.

As for the reproduction of the plot, I won't show it here. A bunch of characters, such as Wang Lifa and Liu Mazi, have been deeply rooted in readers' hearts with the reading of this classic again and again. In my opinion, there are two reasons for the widespread spread of Teahouse. On the one hand, the artistic achievements of the work itself and the author's famous reputation at home and abroad have the significance of mutual publicity. On the other hand, the easy-to-understand language in the teahouse also provides objective convenience for communication. Just like after reading the Water Margin, I can always say that thieves are birds, and even friends who don't like reading can relish a few words after reading the teahouse: Fuck! Hit his brother-in-law

These words are not elegant, but they are quite popular in Jianghu. Works often contain such approachable words, which can naturally be easily accepted and understood by most readers.

In Teahouse, the paragraph that impressed me the most was at the end of the play. Grandpa Four often lamented:

What about myself? I love our country, but who loves me?

I secretly think this sentence can be used as a summary of the voices of most characters in the play. Needless to say, grandpa four often refuses to be soft all his life, dares to do things, and doesn't like foreigners' willingness to stand on their own feet; Wang Lifa can also be summed up in this sentence. Behind this figure's cowardice and helplessness is a simple yearning for peacetime and an instinctive yearning for the security of the country and the people. This yearning and longing are suppressed and restricted in the chaotic social reality, which makes them have a fear of ~ and an evasive attitude towards the status quo. In addition to the vested interests in the chaos, revolutionaries, peasants and national capitalists all hold a certain degree of patriotism, and Teahouse describes the cold and warm life of these people, showing the cunning and darkness of society to the fullest.

Some tea house connoisseurs think that Lao She is good at mocking the decadent life of the old world, but not good at describing the new life. The significance of Teahouse can be summarized as a masterpiece reflecting the life of ordinary citizens in Beijing. By exposing the decadent darkness that lashed the old world, this work shows from the side that only socialism can save China, which is the potential theme of the work. I think it's all unscientific. On the first point, the task of describing a new life should not and should not exist in the historical background of Teahouse. The three acts of Teahouse took place during the separatist regime of the Northern Warlords and on the eve of the collapse of the Kuomintang regime after the failure of the Reform Movement of 1898. At this time, the situation is chaotic, China is in the stage of crossing the bridge for the future, and the teahouse is located in Beiping, the center of the country. It means that the change of Beijing's position must be painful rather than gradual, and the overlapping of black and red does not conform to the historical background, which makes writing more difficult for no reason. Perhaps many people hold unbreakable ideas and impose the responsibility of demonstrating revolutionary forces on this era. In my opinion, this has violated the requirements of historical materialism.

Second, although Lao She hated all kinds of injustices in the old society, in the drama itself, there was no clear direction, and the so-called ~ proposition was really at the meeting. Wang Lifa is not Pan Dongzi, nor is the director Hu Kun Hansan. In Teahouse, the opposition between people and officials is not equal, and nothing pushes them to the revolutionary road, but a more typical relationship between superiors and subordinates. This unequal relationship is more universal, because both warlords and the national government are masters of the country and symbols of violence, and the cost of resistance is huge, even foreseeable through reading in drama. Therefore, Wang Lifa's final suicide was not a silent protest, but a helpless suicide. If you have to add a little red flavor, you'll have to write another book, Kangda Nina Li Chi's Director Shen. In the script of Teahouse, it should be said that I didn't see it.

Although Teahouse does not show a strong author's position, its class contradictions and social contradictions can still be used as a case worthy of reference in the management of our government departments. Are there still bullies Song Li Cohen and Wu Xiangzi fighting for power and profit? Is the feudal legacy of Tang Tiezui clear? You can't talk nonsense if you can't say it well. However, in theory, we can talk openly, because now this is a contradiction among the people. As for the effect of management, we might as well pay attention to whether there are jokes about the world like playing with bamboo boards. Laughter and scolding are articles, love and hate are stories, and it is impossible to investigate a story, so that people's lives can be more peaceful.

(2)

Teahouse, a place to chat with each other and mountains and seas. Who would have thought that this could reflect a big social problem! Unless a master with a unique perspective makes it "alive", the teahouse will never have a deeper meaning. And that man, Lao She, the master of language, used his unique perspective and technique to make the language of the whole script bloom with colorful life.

Lao She was born in a big courtyard in Beijing, a poor Manchu family named Shu. My father is an army guard and my mother earns money by washing clothes. After his father's early death, life was even more embarrassing, but the god of luck took care of Lao She. First, he sponsored Lao She to go to school for a philanthropist, so that he could receive a good education. With Lao She's unremitting efforts. He has grown up and achieved something. In the later creative process, what deeply influenced him was the situation at that time. The reason why the teahouse has the characteristics of "seeing the big from the small" is also closely related to its civilian background.

Similarly, Lao She's technique is unique. One of the most outstanding points is that the whole drama has only three acts, one for a period of time, which is simple and easy to show the plot. From the failure of the Reform Movement of 1898 in the late Qing Dynasty, to the separatist regime of the northern warlords in the early Republic of China, and then to the eve of the collapse of the Kuomintang regime, it is not so much a time change as a historical change. The characters show the times, and the times, as the background of the characters' performances, complement each other, which makes the small teahouse rise to the point where people have to judge this masterpiece from the perspective of "historical drama". Second, although the teahouse is dull, there are many religions and plants. However, several characters run through the play and play a central role. 1. Wang Lifa (teahouse shopkeeper) 2. Mr. Song (timid, but not pregnant) 3. Mr. Zhang (honest man, very patriotic and healthy) Two tea men, Mr. Song and Mr. Zhang, have a good friendship with him. In this so-called "lively" tea party audience, it is really not easy to find a few old ladies who are willing to talk. Listen! What you say is either polite or flattering. Although I don't know what Lao She's intention is to create such a character, at least through this dialogue with three people with a little human touch and a little "conscience", people can deeply understand the coldness of this world! Thought-provoking. Third, the son inherits his father's business. These are some ironic arrangements. The times in the play are advancing and the clothes are very avant-garde. What do the guests think? ! This is an imaginary package. It won't change the content. For example, Sugar Iron Mouth, who used to read physiognomy, raised a son, and now he has "upgraded" to become a master. Asako Liu's matchmaking business turned his son into a "flower joint venture" (providing waitresses and jeep girls for foreigners and officials). The wily Wu Xiangzi was renamed a hereditary spy in his son's life. People! Why do you always "follow the rules" in this respect?

(3)

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(5)

Mr. Lao She is recognized by the people as a people's artist, and many of his tasks have been deeply rooted in the hearts of the people. Mr. Lao She studied in England in his early years, and it was at that time that he began his own creation.

Teahouse is one of Mr. Lao She's most successful plays, and the stories, characters and language in it are all talked about by people.

Anyone who has seen Teahouse knows that this script describes the story of a small teahouse called Yutai Teahouse, thus showing the changes of China from the late Qing Dynasty to the Republic of China. The teahouse showed us the living conditions of people at all levels at that time. Both their struggle and their helplessness are drawn into the story for vivid display. This drama seems to be a picture of all things, which has completely brought us into that era. There is no absolute hero in this drama, and the relationship between each character is intertwined into a network of characters, which pushes the story forward. Mr. Lao She is like an amiable old man, with a shallow sadness on his face, telling us the joys and sorrows of that era. I think he lived in that era, and he knew that era.

When I was a child, when I first read Teahouse, I couldn't understand the profound sadness contained in it. But when I watch this drama when I grow up, I really feel the anger and helplessness when Mr. Lao She wrote Teahouse.

In the whole drama, there are two scenes that I can't get through. I can't understand, let go and accept such China people.

One is that when eunuch Pang bought a daughter-in-law, the middleman deducted money from the sale of other people's daughters without any shame. Finally, the old man sold his daughter who had been raised for many years with twelve taels of silver. I don't know if 12 silver is enough to support my family. I sold my daughter with 12 silver just to keep my family alive. Www.3300 1 1.coM Is this the sorrow of that era or the sorrow of China people? The girl who was sold fainted, but eunuch Pang shouted, "I want to live." When the girl woke up, eunuch Pang smiled and said, "She is alive again." I can't help asking, is such a girl a person or a plaything? You can imagine what kind of life that girl will lead in the future by making such a plaything.

I think at that time, the life of the lower class was probably like this. Children from poor families are not as good as dogs from rich families. Only Fu once said, "The wine in Zhumen stinks, and the road starved to death." What kind of era was that? A living man is not as good as a dog. I can't help asking, is it true that only children from rich families are children, and children from poor families are not people? Whose child is not pregnant in October? Whose children didn't grow up with hardships?

The second scene is grandpa Obana's farewell. I read the helplessness of the old shopkeeper, and (reading notes www.duhougan.com) also read the disappointment of the old shopkeeper. But in order to keep his granddaughter alive, he can only say goodbye to her. This scene is similar to the scene of the old man selling his daughter in the previous paragraph. Parting is all about making a living. Every time I read this, I can't help my eyes moist, but at this moment, Tang Xiao's iron mouth appeared, and the appropriate humor revived the atmosphere. I think this must be carefully arranged by Mr. Lao She. But after laughing, I felt a little bitter in my heart. I don't know whether to laugh or cry. It is precisely because there are too many people in have it both ways, and it is precisely because there are too many people who bully the weak and fear the hard that China has been unable to revitalize for a long time, or even nearly perished. Thinking of this, how can you laugh when you see this person who should be funny?

Of course, I can't put it down, and the language in the play is full of Beijing flavor. Every time I read Mr Lao She's works, I can't help touching my mouth. Because in his works, those Beijing dialects that have been sleeping for many years have become alive again. Hua Er's pronunciation is just right, and the humor of old Beijingers is well reflected. I always imagine the image of a kind old man in my mind and tell all the stories I have heard in colloquial Beijing dialect.

In Teahouse, the word "hard and bright" said by Dali's mother when she bid farewell to the old shopkeeper, and the word "please" said by the old shopkeeper when he asked the guests to sit down, all of which contained rich old Beijing characteristics. Just like the fragrant noodles, like the rich bean juice, like the winding hutong, all belong to the unique flavor of old Beijing. Mr. Lao She, as an authentic Beijing writer and a flag writer of pure blood, showed the world the truest and purest Beijing.

Some people may say that Mr. Lao She's Teahouse has no revolutionary consciousness and does not show people a bright future. But I think that in that decadent era, reformers were beheaded and businessmen engaged in industry were oppressed. How can we see a bright future in such an era? I remember that there was an intellectual in the play who had been engaged in industry and had been to Congress. He went to the temple to recite scriptures and stayed out of it. Faced with the invitation of politicians, I stubbornly insisted that I could do nothing but chanting. Because he has been disappointed in that era and has been disappointed in the politics of that era. I want to believe that this is a real scene in that era. In the face of such darkness, where should we look for light? I believe that from beginning to end, Mr. Lao She has shown us a most authentic Beijing and a most authentic era.

At that time, people could not see the light and the future. The lower classes live in darkness and worry about where the next meal is every day. The rulers, on the other hand, sing and dance every night, always thinking about bamboo and silk, and don't care about the country at all, let alone the lives of the people. How can we see the future in such an era?

This "Teahouse" tells the endless vicissitudes of life, lasting forever. And these historical vicissitudes will always accompany us, such as alarm bells ringing.

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