1980 My literary era

The success rate of the 80-level acting class of China National Theater is considered high, at least according to Lin Weimin, there are many familiar faces, and there are also some mixed-ups like Jiang Wen.

Lin Weimin came to cheer for the students today, which made Jiang Wen a solid figure in the school. The school leaders and teachers were also very happy. When they invited Lin Weimin to dinner in the afternoon, they even specially called a few students. , including Jiang Wen.

There was no chaos in the so-called wine bureau that mixed resources in later generations. It was just that the teachers introduced a few students they thought had potential to Lin Weimin and became familiar with them.

As a disciple of Mr. Beidou Wan, Taishan of the Chinese theater world, Lin Weimin himself has also made outstanding achievements in drama creation. It will definitely be beneficial for these students to get to know him.

Among these students, in addition to Jiang Wen from the acting department, there are also several 79-level directing students.

Later generations often talk about the fifth-generation directors who came out of the 78-level directing department of Yanjing Film Academy, but few people mention the 79-level directing department of China National Theater Academy.

This class also has a high success rate, but most of these people are active within the system and on the drama stage, so they are not well-known among the public.

For example, in the sketch "Yang Bailao and Huang Shiren" copied by Lin Weimin, the original director role in the sketch was played by Lou Naiming, a student of the 1979 directing department. She was a guest star at the time and was the director herself.

There is also Wang Xiaoying, whose name is very similar to Wang Xiaoying, a classmate from the Institute of Literary Studies, who is also a heavyweight in the domestic drama industry in later generations.

After having a peaceful meal, Lin Weimin finally walked out of the campus of China National Theater.

Another weekend, Lin Weimin came to Yenching Normal University as scheduled.

Yanjing Normal University is located in Beitaipingzhuang. In the early 1980s, there was no third ring road.

The Yuanwanglou Hotel not far away is already a tall building, isolated there, and further north is the vegetable field.

Zhang Jianjun and two classmates stood at the door to pick up Lin Weimin. They entered the campus. Compared with the campus of China National Theater in the alley, the campus of Yenching Normal University was much wider. Students came and went on the road, full of vitality.

"Teacher Lin, I originally invited you to give a speech to our Chinese Department. Unexpectedly, the news spread more and more widely. Not only students from our own school, but also many students from other schools came, so we So the venue of the speech was temporarily changed to the school auditorium.”

Zhang Jianjun explained to Lin Weimin on the road.

Zhang Jianjun and the others are students from the Chinese Department of Yenching Normal University, and they had previously invited Lin Weimin to give lectures in the name of the Chinese Department.

After making an appointment with Lin Weimin, I must say hello to the department when I return to school, and I must spread the word to my classmates.

At this time, the connections between the major universities in Yanjing were very close. When someone heard that Lin Weimin was going to give a lecture at Yanjing Normal University, they immediately gathered their friends and came here in groups.

Coupled with the students from other departments in the school who heard the news, the ladder classroom borrowed by Zhang Jianjun and others was so packed early in the morning that there was no room to even stand in the classroom.

Seeing that the classroom was full and more and more people were coming, Zhang Jianjun and the others had to find a temporary solution and borrow the school's auditorium.

The auditorium of the Normal University is similar in size to the Capital Theater, but the decoration is not as good as that of the theater. With the auditorium, the students who come to attend lectures finally have a place to stay.

As soon as Lin Weimin walked into the auditorium, a huge sound field enveloped him.

"How many people are here?" he couldn't help asking Zhang Jianjun.

Zhang Jianjun shook his head and said: "I haven't counted. But our school auditorium can hold 1,500 people. Looking at it now, it must be more than 1,000 people."

Lin Weimin saw people still entering the auditorium and couldn't stop himself. This scene was a bit big!

The group of literature lovers in this era is too huge.

Along the way to the rostrum, some classmates who were familiar with Zhang Jianjun saw that they were leading a tall man with a distinguished temperament, but he did not look like a student.

He immediately shouted to Zhang Jianjun: "Jianjun, is this Teacher Lin next to you?"

"yes!"

Zhang Jianjun only answered, and the students around Wu Yang seemed to explode.

After a moment, Lin Weimin felt that the wave of people in front of him was surging towards him.

Nest grass!

Lin Weimin hurriedly ran towards the rostrum. Fortunately, he was very close to the rostrum. He took three steps and two steps at a time and ran to the rostrum.

The crowd formed by the students behind them was also surging at this time, making noisy noises.

"Everyone, please stop crowding! Stop crowding!"

Zhang Jianjun and others worked hard to maintain discipline, using their bodies as a human wall to block the surging crowd.

Seeing the chaos below, Lin Weimin had no time to take the side steps and climbed directly onto the podium.

He shouted loudly: "Students! I am Lin Weimin, everyone, calm down! Don't move! Don't move!"

In the thousands-square-meter auditorium, people were noisy. Lin Weimin's voice was not loud, but he stood on the stage and attracted the attention of many students. Everyone looked at Lin Weimin standing on the podium and looked at the students near the podium. They started and slowly stopped making noise, and the turbulent waves of people gradually calmed down.

Zhang Jianjun and others hurriedly walked up to the podium and handed Lin Weimin the microphone that had been connected.

"Hey, hey, hey!" Lin Weimin tried the microphone. The loud sound spread throughout the auditorium through the amplifier, and the students in the auditorium finally became completely quiet.

"Hello, classmates, I am Lin Weimin! Haha, I have felt everyone's enthusiasm just now. Now please sit down. Students who don't have seats can squeeze in with the people around them. If you can't squeeze in, you can sit on your lap. Yes, of course, I mean same-sex people."

There was a burst of laughter from the students below, the atmosphere in the auditorium became lively, and the students began to sit down in an orderly manner.

Seeing that the atmosphere was almost over, Lin Weimin took the microphone and said to Zhang Jianjun: "No need to introduce and announce the curtain, I will start directly."

Zhang Jianjun nodded. What just happened scared him into a cold sweat. At this time, only Teacher Lin could command the turbulent students in the audience. The most important thing was safety.

After the communication was completed, Lin Weimin saw that the students were almost seated, the auditorium returned to silence, and people came in from time to time at the door. He held the microphone in his hand and said, "Then I'll start!"

“This time I was invited by our classmates from the Chinese Department of Yenching Normal University to come to your school to communicate with classmates about literary creation.

I didn't expect so many people to come today. Maybe many of them are not Chinese majors. Everyone just listened. If you have any questions, you can raise your hands to ask after I finish speaking. "

After Lin Weimin said this, he stopped and looked at the many students below. Everyone's expressions were extremely serious.

"The content of my speech today is based on several articles published in the first issue of "Contemporary" two months ago. Ma Yuan's "The Temptation of Gangdise" and Yu Hua's "Eighteen Years Old and Going Away" OK"Have everyone seen it?"

Following Lin Weimin's question, the students below all raised their arms, looking like a lush forest at a glance.

"Okay, everyone, please put it down. It seems that everyone is a loyal reader of "Contemporary"."

The students below laughed.

"Everyone who has read these two novels should be able to find that these two works are very different from the novels published in various publications today. I once mentioned a concept in the editor's note of this issue - Pioneer Literature is used to describe their style. Many people may not understand it and think I am making things up.

Including the article I published in "Literary News" some time ago, everyone should have heard about it. There are both supporters and critics. Among the critics, there is a group of people who hold the view that they think Ma Yuan and Yu Hua , to be precise, it is Ma Yuan. What he wrote cannot be called novels at all. They are all different images that I forcibly deduced in order to create an authoritative image for "Contemporary" and myself.

Perhaps including many students present, when they first read Ma Yuan's works, they felt annoyed because they fell into his narrative trap.

I can understand all of this. Here today, I would like to take this opportunity to communicate with you what the so-called avant-garde literature refers to. "

When Lin Weimin said this, there was some noise underneath.

In the first issue of "Contemporary" in 1983, the most popular one was "New Star" by He Yunlu, followed by "The Temptation of Gangdise" by Ma Yuan. Young people are always surprisingly receptive to new things. Most people are just watching the fun.

However, there are still many people who are disgusted with Ma Yuan's writing style that emphasizes form and structure, thinking that he has strayed away from the essence of literature and turned it into a word game.

The traditional "view of novels" is being challenged.

Lin Weimin ignored the noise in the audience. His expression was calm and his tone was unhurried.

“First, let’s talk about what is ‘avant-garde literature’?

It is easy for everyone to understand the word avant-garde, but what do you mean by the word "literature"?

In order to understand the meaning of this word, we need to analyze Ma Yuan's "The Temptation of Gangdise". By understanding this article, we also understand the characteristics of avant-garde literature and what I mean by avant-garde literature.

In "The Temptation of Gangdis", it actually narrates several seemingly unrelated stories.

One story tells the story of an old writer's experience, another story tells the story of Lu Gao and Yao Liang watching the burial process, and the last story tells the story of the Tibetan brothers Dundup and Dunyue.

The structure of the novel is very unique. Several stories have little connection. They are established independently and connected in the same novel. The clues of the story are also very unclear, often appearing suddenly and disappearing quickly. Events often do not have a definite time or place, or some omissions are made in the process or the result.

Although Ma Yuan uses storytelling to narrate, he does not have the background, rendering and structure of stories in ordinary novels. This creates a contrasting effect between suspense and structure, and consciously creates a sense of disappointment in the readers' expectations. .

Ma Yuan is also very unique in his narrative method. He constantly changes the person's pronoun, which represents the perspective, the behavior and feelings of the characters. When describing the old writer, he uses the first-person direct narrative; when describing the poor When publishing, he used second-person indirect narration; when narrating Lu Gao and Yao Liang's experience of watching the burial and the story of brothers Dunzhu and Dunyue, he also used a positive narrative method.

This method avoids pure objective description and subjective expression to a large extent, and maintains a close and natural connection with readers, similar to a mysterious sense of hearsay. "

After analyzing "The Temptation of Gangdise", Lin Weimin saw blank expressions on the faces of many students in the audience.

Although there were many literary enthusiasts in the 1980s, most of them were following the crowd and superficial hobbies.

Most of the students in the audience are actually here to meet their literary idols. Shouldn't the idols on the stage be like those poets who come to the school to communicate, passionately reciting their own or other people's works, talking about life, ideals, and... These grand propositions of the world?

Teacher Lin, you caught a novel for us to analyze. Are you really referring to us as Chinese students?

Lin Weimin had no intention of appearing in front of anyone. This time he came at the invitation of the Chinese Department, and he was also talking about literary creation. He welcomed the presence of literature lovers, but he asked him to talk to everyone in order to cater to everyone. There is really no need for empty and weak content.

In the past two years, he has seen too many so-called writers and poets who show off on university campuses. Wherever he goes, students gather to follow them and worship them like gods. It may be fun to watch, but it is really unnecessary.

Isn't it pitiful that people who rely on literature to make a living have to put literature on the altar, and in the end have to rely on other people's offerings to survive?

Come from the masses, go to the masses. Wouldn’t it be better to spread unfamiliar concepts and novel content widely so that readers can gradually accept and love them? This is why he came today.

The concept of avant-garde literature is still unfamiliar to many literature lovers. Letting everyone understand this style as soon as possible will be of great benefit to the majority of young creators.

As the driving force behind the promotion of avant-garde literary authors such as Ma Yuan and Yu Hua to the public, Teacher Lin feels that he has an unshirkable responsibility.

"After analyzing "The Temptation of Gangdise", I don't know if everyone has realized that avant-garde literature actually has several important characteristics.

First, most of his cultural expressions are rebellion and dissolution of old meaningful patterns. The author's creations no longer have a clear theme orientation and sense of social responsibility.

Second, it subverts the old view of reality in terms of literary concepts. On the one hand, it gives up the pursuit of historical truth and historical essence, and on the other hand, it gives up the true reflection of reality. The text only has a self-referential function.

Third, it is reflected in the characteristics of the text as a narrative game, which is more flat, and the structure is more scattered and fragmented. The dissolution of the meaning of the text also leads to the disappearance of the depth mode of the text. The characters tend to be symbolic, and the symbolic meaning mode can be abandoned. Use writing strategies such as parody, irony, and more. "

After Lin Weimin finished speaking, many students in the audience were even more confused.

Many people have watched "The Temptation of Gangdise", but why do they feel that they and Teacher Lin are watching different things?

Teacher Lin, could you please consider our feelings?

Most people looked blank, but there were still a small number of students who really loved literature and were willing to study it, and understood the concepts Lin Weimin talked about.

Pioneer literature, this is what it is all about!

Third update.