Farrewell My Concubine 霸王别姬

"Farewell My Concubine" tells the love story of Chu Bawang Xiang Yu and Yu Ji. The overlord and Liu Bang were surrounded by battles, and the war was retreating. The overlord was the hero of the world. He was still fighting with the Han army on his own, but he was unable to succumb to the enemy. He was finally surrounded by Liu Bang. At this time, the songs were heard on all sides, and the overlord and the generals thought that Liu Bang had occupied Chu, and suddenly he had no love. The warriors fled and fled, leaving Yu Ji and the overlord’s seated Uganda with the overlord. Before the Wujiang River, there was a chase after the war, and the overlord sighed in the sky: "The crime of death is not the crime of war!" In the middle of the river, a boat is coming, and the old man who drives the boat intends to save the king. The tyrant swears to death and refuses to cross the river. He has no words to see Jiangdong’s father and his wife, and he will give Wuhuan BMW to the old man. For the last time, Yu Ji was drinking wine, dancing swords, singing songs, and then pulling out the sword from the overlord. When the overlord embraced Yu Ji and saw that the chase had arrived, he said to the enemy general: "Liu Bang rewards the talents and takes my head. Come and come, I will give you."

"Farewell My Concubine" is undoubtedly a tragedy, and has always been rumored by people. The pride and heroism of Bawang is advocated and pursued by people. Therefore, the "Farewell My Concubine" in the Beijing Opera has become a famous section, and Cheng Yiqiu and Yang Xiaolou are the masters of a classic interpretation of "Farewell My Concubine", but they have become the movie "Chou Die" The original shape of the clothes and the "small small building".

The film "Farewell My Concubine" is the work of director Chen Kaige in the 1990s. It is a clue to the growth process and life trajectory of the two brothers of "Liu Dieyi" and "Duan Xiaolou". 


The mother of "Cheng Dieyi" in the movie is a woman in the Qinglou. The beginning seems to indicate her feminine plot with fear. Because he is confused about his gender, he always sings the words "Sifan". So we saw a small bean with a small amount of words, calm and introverted, and delicate feelings (the name of Cheng Dieyi). Cheng Dieyi and the teacher's brother Xiaolou feel very good. When they first came to the troupe to learn the drama, they had several emotional exchanges with the younger brother Xiaoshi (the nickname of Duan Xiaolou), once in the troupe. In the evening, Shi Ge gave himself a cover. Once, the master helped the small beans to pull out the ribs, and the small beans were in pain. The small stone helped the lazy to be lazy. The master found the shackles on the ice. The three-nine-day smashed the ice basin with ice and smashed for a day. The small stone returned to the house, and the small bean pulled him into his bed and gave him heat with his body temperature. It was painful to learn to play in the troupe. A small bean sneaked out and accidentally caught up with a famous singer at that time. After seeing the glory of becoming a famous horn, Xiaodou returned to the troupe to work hard and finally caught up with the theater manager. He came to the troupe to pick someone. He was chosen to sing a little stone to the old eunuch, Huang Gonggong, and the two sang "Farewell My Concubine" to make a name.


So the chorus of "Farewell My Concubine" with the teacher brother became the only pursuit of "Cheng Dieyi", which made him more blurred of his gender, and also deepened his fascination with his brother "Duan Xiaolou". I began to confuse the relationship between the stage and life, and I felt the same feelings of my own. Because he had the best grasp of Yu Ji on the stage, he was appreciative of the "Yuan Siye" in the Liyuan line. Yuan Siye was a singer, and he was greeted by the younger brother in the small building. Later, "Cheng Die Yi" became more and more lost, and he exchanged with Yuan Siye to maintain his artistic pursuit. When the film arrived here, the "Yu Ji" of the overlord in a play and the "Yu Ji" of the overlord in life, we saw the beginning of the contradiction. In the future, this main line of contradiction ushered in one after another. A climax, while not breaking out under the efforts of all parties.

Until the Cultural Revolution, when the Red Guards tied the "Duan Xiaolou" to the fight, the "Cheng Dieyi" wearing a gorgeous Yuji costume suddenly rushed over and leaned down to paint the face of the teacher, this moment " Cheng Dieyi’s face is self-conscious, calm and abnormal, and it has a strong contrast with the scenes of sly, funny and noisy struggles in the surrounding pictures. I believe that the same heart in his heart is like water, because he has already regarded the scene of the red guards in front of him as the Wujiang River in front of the stage, and after the pursuit of the soldiers, all sides of the song, all he has to do is like Yu Ji in the play. For the last time, he painted the face for his "Chu Ba Wang Duan Xiaolou" for the sake of the king, the sword, and the song. But the reality once again is beyond the expectation of "Cheng Dieyi". The red guard's fighting is different and the embattled, the teacher "Duan Xiaolou" is not the real Chu Bawang Xiang Yu, the teacher "Duan Xiaolou" can not bear to be Fighting, but also failed to save the face and sword for himself like the overlord. Instead, it madly revealed the "crimes" of "Cheng Dieyi". "Cheng Dieyi" sat on the ground. Finally, when he heard the teacher revealing his gender trend, the contradiction finally broke out. "Cheng Dieyi "I feel lost when I miss the artistic pursuit of my life. After all, I understand that the drama is always a play, and reality is always reality."

There is another detail in the film that is very interesting. The ability of Duan Xiaolou to lose his temper is to shoot bricks on his head. This is the case during the troupe. The pats from the bridges to the brilliance in the Qinglou Bricks, the pats of the puppets in the background have been tried and tested. Until the Cultural Revolution, in front of the Red Guards, the bricks seemed to be less agile, and the blood bricks were not broken. The personality of "Duan Xiaolou" has changed with these several incidents, and it has become less and less confusing. It has become a compromise, and it has become nothing. People are softened in the impact of this fate, and they are also soft and forget the hardships, so it is not as good as once, and finally soft enough to make people stunned.
In the theater more than ten years later, the "Cheng Dieyi" and the "Dian Xiaolou", who had not seen each other for many years, rehearsed the play of "Farewell My Concubine". This time, "Cheng Dieyi" finally In the play, the fake drama is really done, and the sword of the "Dian Xiaolou" of the teacher is self-proclaimed. In the "Farewell My Concubine", Yu Ji and Bawang are finally different. In reality, "Cheng Dieyi" is finally fulfilled as a teacher. "Duan Xiaolou" has come to an end, just do not know whether this is out of love, or out of hate, is out of drama, or out of love.

The movie "Farewell My Concubine" is also a tragedy. It is sad in the world, sad in life as a play, and sad in the world's vicissitudes of human suffering.

The Beijing Opera "Farewell My Concubine" makes people's heroic spirit of Bawang, the world's pride has unlimited admiration and worship, and the movie "Farewell My Concubine" tells us that even the "Duan Xiaolou" who plays the righteous king on the stage is just a mortal. Ordinary people can only compromise when they encounter "four sides of the song" in their lives. They can't break through like Chu Yu Wang Xiangyu on the stage, and they will maintain their dignity.

I think the difference between the two is: When we encounter the "four sides of the song" in life, can we dare to "return" like the overlord?

《霸王别姬》讲的是楚霸王项羽与虞姬凄美的爱情故事。霸王与刘邦作战被围，且战且退，霸王乃是盖世的英雄，在被重重包围的情况下仍凭一己之力与汉军作战，但寡不能敌众，终被刘邦围在垓下。这时四面响起了楚歌，霸王与众将士以为刘邦占了楚地，顿时无心恋，战将士四散奔逃，就剩下虞姬与霸王的座骑乌骓马伴随霸王左右。前是乌江，后有追兵，霸王仰天长叹：“天亡我非战之罪也！” 。江中游来一叶扁舟，驾船的老翁有意救霸王一命，霸王誓死不肯过江，言之无颜见江东父老，言巴，将乌骓宝马赠于老翁。虞姬最后一次为霸王斟酒、舞剑、放歌，然后拔出霸王身上的宝剑自刎。霸王怀抱虞姬见追兵已到，便对敌军将领说：“刘邦悬赏千金取我项上人头，来来来，我赠与你。”说完亦拔剑自刎。
《霸王别姬》无疑是一出悲剧，而且一直以来为人们所传诵，霸王的豪情、英雄气概为人们所崇尚、追求。所以京戏中的《霸王别姬》也就成了一出名段，而程砚秋与杨小楼就是一对经典的演绎《霸王别姬》的名家，然而他们已然成了电影《霸王别姬》中“程蝶衣”与“段小楼”的人物原形。
电影《霸王别姬》是导演陈凯歌上个世纪九十年代的作品，以时间顺序为线索，讲述了“程蝶衣”与“段小楼”两个梨园行里师兄弟的成长过程及人生轨迹。
电影里“程蝶衣”的娘是青楼女子，这个开端似乎也预示着他与生惧来的女性情节，由于他对自己的性别产生混淆，他总是将《思凡》的戏词唱错，于是我们看到了一个话语不多，沉稳内向，感情细腻的小豆子（程蝶衣的小名）。程蝶衣与师哥段小楼感情甚佳，在初到戏班学戏的时候，便与师哥小石头（段小楼的小名）有了几次情感上的交流，一次是进戏班的当天晚上，师哥给了自己铺盖。一次是师傅帮小豆子拔筋，小豆子痛苦不堪，师哥小石头帮忙偷懒被师傅发现挨罚，三九天顶着冻成冰的水盆子跪了一天，等罚跪结束后快动僵的小石头回到房子，小豆子将他拉进自己的被卧，用体温给他焐热。在戏班学戏是痛苦的，一次小豆子偷跑出去无意中赶上当时的一个名角儿唱堂会，看见成角成名后的气派，小豆子回到戏班发奋用功，终于赶上戏院经理那爷来戏班挑人，被选上与师哥小石头给老太监黄公公唱戏贺寿，两人合唱《霸王别姬》一唱成名。
于是与师哥合唱《霸王别姬》便成了“程蝶衣”的唯一追求，这使他更加的模糊了自己的性别，同时也加深了自己对师哥“段小楼”的迷恋，他开始混淆舞台与生活的关系，将自己演义的虞姬感同身受。由于他在舞台上对虞姬的把握达到了最佳状态，得到了梨园行当中戏霸“袁四爷”的欣赏，袁四爷是一个戏痴，在师哥段小楼迎娶青楼女子菊仙后，“程蝶衣”愈发的感到失落，便与袁四爷交往以保持住自己的艺术追求。影片到这里时，一个戏中霸王的“虞姬”与一个生活中霸王的“虞姬”向遇，我们看到了矛盾的开始，在以后的时间中，这条矛盾主线陆续迎来了一个又一个高潮，同时又在各方的努力周旋下没有爆发。
直到文革时期，当红卫兵将“段小楼”绑着批斗的时候，身穿着华丽的虞姬戏服的“程蝶衣”突然冲了过来，俯下身子为师哥画脸，这一刻“程蝶衣”的脸上神态自若，淡定异常，与周围画面中喧嚣、滑稽、嘈杂的斗争场面产生强烈的对比。我相信在他心里也是一样的心如止水，因为他已经将眼前红卫兵揪斗的场面看作是戏台上前有乌江，后有追兵，四面楚歌的垓下，他要做的就是像戏里的虞姬最后一次为霸王斟酒、舞剑、放歌一样为自己的“楚霸王段小楼”画脸。但现实又一次出乎于“程蝶衣”的预料，红卫兵的揪斗不同与四面楚歌的垓下，师哥“段小楼”也不是真正的楚霸王项羽，师哥“段小楼”不忍被斗，也没能像霸王一样为自己保存颜面拔剑自刎。反而疯了似的揭发“程蝶衣”的种种“罪行”，“程蝶衣”瘫坐在地上，终于，听见师哥揭发自己性别趋向问题时，矛盾终于最大一次爆发了，“程蝶衣”对毕生的艺术追求感到失落，感到怅然，终究明白戏词总归是戏词，现实总是现实。
影片里还有一个细节很有意思，“段小楼”发脾气的本事是往自己脑袋上拍砖，戏班时就是这样，从天桥卖艺的那次拍砖到在青楼替菊仙出气的那次拍砖，在后台教训伪军的那次拍砖都屡试不爽，直到文革时期，在红卫兵的面前，拍砖似乎不那么灵光了，满头血砖还没有碎。而“段小楼”的个性随着这几次事件都在改变，变的不那么见棱见角了，变的妥协了，变的没有了。人就是在这一次次命运的撞击中瘫软下来的，瘫软的同时也忘记了曾经的坚硬，于是一次不如一次，最终软到让人大跌眼镜。
在十几年后的剧场里，多年未相见的“程蝶衣”与师哥“段小楼”重新排练起《霸王别姬》这出戏来，这一次，“程蝶衣”终于在戏中假戏真做，拔出师哥“段小楼”的宝剑自刎，《霸王别姬》中的虞姬与霸王终于相别，现实中的“程蝶衣”也终于如愿以偿的为师哥“段小楼”从一而终，只是不知这一别是出于爱，还是出于恨，是出于戏，还是出于情。
电影《霸王别姬》也是一出悲剧，它悲在世态炎凉，悲在人生如戏，也悲在世间的沧桑对人本性的折磨。
京戏《霸王别姬》让人对霸王的英雄气概，盖世豪情有着无限的景仰与膜拜，电影《霸王别姬》告诉我们，即使是在戏台上演义霸王的“段小楼”也仅仅是个凡人，平凡的即使在生活中遭遇“四面楚歌”的时候也只能妥协，不能像戏台上的楚霸王项羽一样突围,一样为自己留得尊严。
我想·两者间的差距就是：当我们遇到生活中的“四面楚歌”的时候能不能，敢不敢像霸王一样的“全身而退”？