Yuan Kuocheng, (1929-20 15), is a famous storyteller. Beijinger, born in a storyteller's family in Tianjin. On the basis of inheriting the tradition, it absorbs the advantages of drama, film, opera and other art forms to form its own style. Learn from my father since childhood. Step onto the stage at the age of sixteen. He has performed in Beijing and Tianjin. After the establishment of People's Republic of China (PRC), he served as the deputy head of Yingkou Quyi Troupe, the second and third directors of China Qushi Association, and the vice chairman of Liaoning Branch. 1965, joined the China * * * production party. 1986, The Romance of the Three Kingdoms was released. He has compiled and performed new books, such as Lin Yuan and Hongyan. And there are storytelling, such as Loyalty, China Rolling, Romance of the Three Kingdoms, etc. Mr. Yuan Kuocheng, a famous storytelling artist, died in Beijing on the morning of March 2, 20 15 at the age of 86.
Character experience
early stage
Yuan Kuocheng's storytelling art can be divided into three distinct artistic periods because of the different physiological conditions in different stages of a person's life.
According to the bibliographies circulating on the Internet, Modern Storytelling (except Red Rock Soul), Liangshan in Shui Bo and some sketches are all works of Yuan Kuocheng in his early years.
1, art classification of storytelling
As an art of storytelling, it can be divided into two parts in content.
Narrative part
The narrative part, that is, the so-called storyteller tells the story and comments on it.
Representation part
The expression part, that is, the so-called psychological thinking of the characters in the book, what they say.
In order to tell a good storytelling, these two parts should not only be told separately, but also be combined with each other. In this respect, Yuan Kuocheng's early modern storytelling is a model, especially imitating the characters in the book.
2. Traditional storytelling and modern storytelling.
Compared with traditional storytelling, the biggest difference between modern storytelling and traditional storytelling is delicacy. Traditional storytelling is often casual, for example, he rarely describes complex psychology and details. The important feature of traditional storytelling is one-track mind. For example, there is a plot in the popular storytelling short story "Xiaofei buys medicine": Xiaofei lights a cigarette, throws a matchstick and brush, and throws it on the cheek of a little spy. The little spy was too excited to say be careful and dare not speak. Then don't turn over this stubble again, and continue to talk about how Phillips bought medicine. The plot of turning around and returning to the original place like this generally does not appear in traditional storytelling (except Tian Lianyuan). For example, Xiao Fei gave the puppet troops a mouth and knocked out the back molars, and there was a wonderful conversation between the puppet troops and their buddies. Such details generally do not appear in traditional storytelling. At most, Xiao Fei said that he knocked out the molars after the ana, or used Yuan's unique exaggeration. Xiao Fei said that he almost didn't cut off the ana's head, at most.
Therefore, due to the formation of traditional storytelling, the culture of people who listen to books is generally not high. In order to let these people understand the ins and outs of the story, simplicity has become an important feature of traditional storytelling, but it is inevitable that it is rough. One of the reasons why modern storytelling is exquisite is, of course, that they are all adapted from modern novels; Another more important reason is that modern storytelling is closer to life. This has two effects. First, it has narrowed the distance between the story and the audience, making it easier for the audience to understand the story, thus leaving room for the delicacy of the story. Second, modern storytelling must be delicate, because life itself is very delicate. If modern storytelling can't be delicate, it will be obviously far away from life and even have a funny effect. Therefore, if painting is used to compare storytelling, traditional storytelling is freehand brushwork, while modern storytelling is meticulous painting.
It is precisely because modern storytelling is much more delicate than traditional storytelling that the most successful book imitating characters in the history of storytelling must be modern storytelling. It's like the most successful works in dubbing history must be modern themes. This can be explained from two aspects. The first is to distinguish different roles by pronunciation. In this respect, the expressive ability of traditional storytelling is extremely limited (the characters in traditional storytelling are all flat), which is nothing more than some simple things such as Shanxi dialect (accurate pronunciation), Yunnan dialect (ren), no nose (Hamifu), sharp voice (moving) and so on. Many of them have nothing to do with the identity and personality of the characters. For example, Shanxi dialect can only show that Kou Zhun is from Shanxi, and no nose can only show that Hamichi has physical defects. What does this have to do with their identity and personality? Their function is only to distinguish different characters in the book. I think with the continuous improvement of people's knowledge level, there will be no such people. You can't tell A, B, C and D without different voices, can you?
Modern storytelling has overcome the shortcomings of traditional storytelling and achieved good results in this respect. Take the Yuan Kuocheng storm as an example. Political commissar, captain, soldier, intellectual, rickshaw puller, landlord bully, landlord bitch, running dog and many other characters all have appropriate voice characteristics, and the voice is set according to different identities and personalities, which is very delicate. Listening to a storm is like watching a movie. Some netizens listened to the teacher's storm with a smile, feeling that Mr. Yuan can voice the film and is a person with all the roles.
3. Imitate the voice of the characters.
The second aspect is to express the different emotions of various characters through language.
Among them, Xiao Fei's buying medicine is a typical example. For example, the panic of traitors being held back by guns and the frustration of the puppet troops after being beaten are vividly portrayed by Yuan Kuocheng's voice. Speaking of which, I remember one thing. As we all know, if two people don't want to be heard by the third person, they must use a very low voice. For example, in Wang Gang's Harbin in the Night, two people were followed by secret agents (maybe, I don't remember clearly), and one of them said to the other, "Don't talk, let's go." In a very low and urgent tone. Another example is Yuan Kuocheng's Liangshan in Shui Bo. Wu Yong made Li Kui jy play dumb. As a result, Li Kui jy wanted to talk after going out, and Wu Yong also talked to Li Kui jy in a low voice. What I want to say is that this depressing tone may not be available to everyone. If the range is not wide enough, this kind of sound is really impossible to pronounce. When I was in high school, I once talked to my classmates during self-study. The buddy said he had a big voice. Of course, this is beside the point.
In fact, Yuan Kuocheng's superb ability to imitate characters is not accidental, nor is it because Yuan Kuocheng is superman, but because of the creative environment at that time. The literary and art circles at that time were not as impetuous as they are now. Some netizens said that the training of storytellers in primary schools at that time required vivid life, details and images. From the early days of the founding of the People's Republic, when Jiao Juyin, a great playwright, directed Longxugou, actors were required to go deep into life, and "going into life" became an important means and part of literary and artistic creation. For example, in a book, you should go deep into life, learn the language characteristics of the characters in life, and then create a vivid image through artistic processing. This is much better than some actors behind closed doors, moping at home and fabricating characters' voices out of thin air.
Yuan Kuocheng's ability to imitate characters' voices is the highest. Until Liangshan, Shui Bo, Yuan Kuocheng was still using this method. But judging from the ballad Romance of the Three Kingdoms, especially after that, Yuan Kuocheng seems to have given up this way of depicting characters, and the possible reasons will be mentioned later. However, some fans who haven't listened to many books think it is ridiculous that Yuan Kuocheng can't use this method. As long as you have heard of Yuan Kuocheng's modern storytelling, you will know that the ability of some storytelling actors, which is highly praised by a few fans, is like the bright light of grass on the bright moon compared with Yuan Kuocheng.
4. Yuan Kuocheng and Dan Tianfang
In Yuan Kuocheng's early storytelling, in addition to modern storytelling, there is also a "Shui Bo Liangshan". Yuan Kuocheng started as a storyteller, among which Liangshan in Shui Bo is his masterpiece. Here, I hope to analyze the differences in characterization between Yuan Kuocheng's and Dan Tianfang's short plays by comparing them with Dan Tianfang's most famous work, another famous short play, The Hero with White Eyebrows.
As mentioned above, if modern storytelling is meticulous painting, then traditional storytelling is freehand painting. It is also mentioned that the modern storytelling in Yuan Kuocheng can be called film storytelling. Listening to a good modern storytelling is like watching a movie. There is a strong similarity between modern storytelling and film art. Similarly, there is a deep relationship between traditional storytelling and drama. Mr Weng Ouhong said that Peking Opera should draw nutrition from storytelling by Yuan Kuocheng, Li Xinquan and others. In fact, many operas are also created according to storytelling bibliography. On the other hand, the storytelling performance developed by absorbing the traditional drama of China. For example, storytelling and traditional Chinese opera, especially Beijing opera, have strong similarities in characterization.
Comparing "Liangshan Heroes" and "The Story of a Hero with Bridled Eyebrows", we will find that there is a significant difference between them in storytelling, that is, Yuan wins with a singular trick alone. Look at the two main figures in Liangshan, Shui Bo, Shiqian and Yan Qing. In Beijing opera, they are called Wu Chou and Wu Sheng respectively. Look at Liang Xu and Fang Shuan, the two protagonists portrayed in The Legend of the Bridled Hero. Of course, Liang Xu is ugly, but the image of Fang Shuan is controversial. This image seems to be more for Wen Chou, just like Jia Hua in the Peking Opera Kanluoji.
As Wu Sheng and Wu Chou, their typical image is Ren He in the fork of Peking Opera. Yan Qing is undoubtedly a role of Ren. Although both Shi Qian and Xu Liang are ugly, only Shi Qian is a role of Liu Lihua. This part of Wu Chou has a common feature, which is alert and clever. From Facebook's point of view, this part of Wu Chou only hooks his nose. For example, the time shift in The Armor Thief, Zhu Guangzu in The Hook Thief and Yang in The Three Thieves of kowloon cup are all such images. There are also some ugly Wu, whose facial features are not alert and clever, but extremely ugly. As far as Facebook is concerned, Wu Chou is full-faced. For example, Xu Liang (who sings Shanxi Bangzi) in "Destroying the Bullies of Xu Liangli" is such a role. In other words, Fan Shi and Liang Xu are both ugly, but Fan Shi is typical ugly, while Xu Liang is biased. The image of Fang Shuan is partial, and there are few similar images in Beijing Opera.
Therefore, compared with Shui Bo's Liangshan and bridled heroes, Shui Bo's Liangshan belongs to a more orthodox simplified book. In fact, as long as you pay attention to the short-handed books among the elderly, you will find that most of these books are based on short-handed martial arts. At the same time, the hero of Tou Mei is a short story whose sword is biased, and Dan Tianfang's voice condition determines that his road to orthodoxy is blocked (for example, in the same book, the hero of Tou Mei, Bai Yunrui, is a big failure). Therefore, Dan Tianfang wisely chose a way to win by surprise, and as a result, he succeeded.
Or "Liangshan in Shui Bo", the book's victory lies in the subtle phonetic imitation of the characters, such as Shiqian's sharp voice (by the way, the phonetic setting of Shiqian's image is obviously based on Beijing opera, which reflects the character's personality; This is different from Liang Xu's pronunciation, which only shows that he is from Shanxi. It was Yuan Kuocheng who created the "bunting environment" with extremely fast speech speed (which can be called the best storyteller). If you have seen Peking Opera such as Comic Book, you will find that the aesthetic feeling embodied in Liangshan in Shui Bo is the same as that in Comic Book, which is really neat and chivalrous. From this book alone, Yuan Kuocheng is comparable to Yang Xiaolou in Peking Opera.
5. Evaluation of Yuan Kuocheng's early storytelling.
It should be said that Yuan Kuocheng's early storytelling, each one is a boutique. The recorded sketches circulated on the Internet during this period, such as Xiao Fei Buying Medicine, Before Dawn, Qiaotou Town, etc., are immortal masterpieces and pearls in the treasure house of Quyi.
middle age
1, a masterpiece of middle age
Yuan Kuocheng's middle-aged works are represented by Romance of the Three Kingdoms, including Land of Kings. Romance of the Three Kingdoms is the first ballad written by Yuan Kuocheng. I am fully familiar with the stories in The Romance of the Three Kingdoms, and I also started from telling stories.
The Yuan version of Romance of the Three Kingdoms has two important features. It is precisely because of these two characteristics that this book has become the most artistic storytelling in the history of modern storytelling. The first characteristic is his knowledge. The Romance of the Three Kingdoms has always attached importance to criticism, and Yuan's History of the Three Kingdoms is no exception. In this edition of the Three Kingdoms, besides a few short comments, there are many good long comments. For example, when talking about Zhuge Liang's death, Yuan Kuocheng used a whole book to evaluate Zhuge Liang's life. Among these comments, what impressed me most was two comments on Zhou Yu, one of which was that Zhou Yu was not jealous of Zhuge Liang personally but out of loyalty to Jiangdong. Otherwise, he wouldn't have sent Zhuge Liang's younger brother Zhu Gejin to lobby Zhuge Liang to submit to Soochow after discovering Zhuge Liang's intelligence. The second is that Zhou Yu is a musician. Because I was very young when I listened to the Three Kingdoms, I found these two comments very fresh, so I remember them the most.
2. Yuan Kuocheng's literary and historical skills.
Yuan Kuocheng's literary and historical talents are fully displayed in The Romance of the Three Kingdoms, which is not only reflected in the evaluation of characters. There are some interesting extensions in Yuan's History of the Three Kingdoms. For example, as we all know, whenever there is an allusion in a story, Yuan Kuocheng always explains his story clearly. But this is not absolute, because after all, these allusions have already appeared in the story, and we just need to follow the map to understand what is going on. The most unique thing in the History of the Three Kingdoms of Yuan Dynasty is what was not mentioned in the original Romance of the Three Kingdoms, which is also carried out. Just give an example to illustrate.
For example, the plot of Kong Rong's murder is very brief in the original. In other words, Kong Rong's sigh was heard by Lv Chi, so Lv Chi went to Cao Cao and told him that Kong Rong often opposed your policy. So Cao Cao was furious and ordered to kill Kong Rong. In the History of the Three Kingdoms by Yuan, two small allusions were added through the dialogue with Cao Cao. One is prohibition of alcohol and marriage, and the second is the most interesting. Yuan Kuocheng put it this way: Lv Chi said to Cao Cao, Do you still remember when you attacked Yuan Shao, Cao Pi took Zhen Shi, the wife of Yuan Shao's son, and Kong Rong once wrote you a letter saying that the prince of Wu had cut off his favorite concubine da ji. What does Kong Rong mean? He means that King featuring gave da ji to the Duke of Zhou, but he actually took a fancy to da ji himself. But it was da ji who destroyed Zhou Wang's land, which is ominous. If King Wu personally takes da ji away, it will have a very bad influence. So King Wu nominally gave da ji to the Duke of Zhou, but secretly gave him da ji. Because as long as you bring da ji into your home, outsiders won't know about it. Now that you have broken Yuan Shao and given Zhen Shiyin to your son Xelloss, you actually took Zhen Shiyin yourself. "
If compared with the official history, Yuan Kuocheng's allusions have played a role. The truth in history is that after Xelloss took Zhen Shiyin, Kong Rong wrote to Cao Cao, in which he mentioned the story of giving da ji to the Duke of Zhou after the conquest week. Cao Cao didn't know this story, so he asked Kong Rong, do you have the source of this story? Kong Rong replied: I deduced it from your practice. There is nothing about Lv Chi.
It should be said that Yuan Kuocheng told this short story with two unique features. One must have a basis. In fact, it is not difficult to fabricate such a short story out of thin air (there is no point in making it up), but if it is well founded, the difficulty will increase a lot. Because this requires the adapter to know the story first. Erjue is very skilled. If the allusions are scripted, they are not interesting at all. But after Yuan Kuocheng's ingenious artistic treatment, this short story becomes interesting. The above is just an example. As far as the short story mentioned in this example is concerned, in the era without the Internet, I might never have known it if Yuan Kuocheng hadn't told the story (these two stories are from the Book of the Later Han Dynasty).
Of course, with regard to the storytelling Romance of the Three Kingdoms, especially the statement of the Three North School, my basic proposition is to crawl books, which is called perfunctory. It is naturally necessary to expand to a certain extent, but we should not stay away from the plot. We should grasp the problem of expansion, which is actually a respect for the cultural heritage of the motherland. In this respect, the Yuan version of the Three Kingdoms is quite good (Bing Xin likes the Three Kingdoms very much, because the Three Kingdoms have not gone out of shape).
Yuan's History of the Three Kingdoms is very learned, and many people can appreciate it, so I won't go into details here. The most important achievement of this storytelling set is its second feature, that is, its formal beauty. It should be said that paying attention to formal beauty is the most remarkable feature of Yuan school storytelling. In his early years, his storytelling was considered elegant and crisp. Through continuous development, these characteristics of Yuan Kuocheng have been fully exerted in the storytelling of The Romance of the Three Kingdoms.
3. Yuan Kuocheng has clear pronunciation and mellow voice.
Yuan Kuocheng's voice is quite correct, and it can be called clear pronunciation and mellow voice, which is quite in line with the traditional aesthetic requirements of China. Although there are also a few dialect pronunciations (not accents). But pronunciation and articulation are not inverted or flat. When the TV storytelling Romance of the Three Kingdoms was recorded in Yuan Kuocheng, the majestic momentum of the radio version of Romance of the Three Kingdoms could not be reproduced because of old age. But I still like this version of the Three Kingdoms, because I like to listen to clear pronunciation and mellow voice.
Yuan Kuocheng has a strong ability to control his voice. The reason may be that Yuan Kuocheng was a modern storyteller at first. Modern storytelling requires more control of actors' voices. If you don't believe me, you can watch Wang Gang's TV series. His voice control ability is higher than that of ordinary actors, which is due to his early modern storytelling. So is Yuan Kuocheng. It is precisely because of Yuan Kuocheng's strong ability to control the voice that he can freely control the priorities of the voice and make the language cadence and rhythmic, just like singing.
4. Yuan Kuocheng is good at using breath.
Yuan Kuocheng is good at using breath. For example, in his program "Difficult Problems" with Tian Lianyuan, Yuan Kuocheng had such a passage: (Xiao Wang) stepped on the gas pedal and ran away. The onomatopoeic word "Zeng" used to describe the sound was held up by Qi. The Romance of the Three Kingdoms fully embodies the characteristics of Yuan Kuocheng's gas use in storytelling. It is precisely because Yuan Kuocheng is good at using breath that Romance of the Three Kingdoms sounds particularly witty. The History of the Three Kingdoms by Yuan gives people this kind of aesthetic feeling, just like bouncing a very elastic ball.
5. The use of Yuan Kuocheng's ventriloquism.
Yuan Kuocheng also has a stunt, that is, the use of ventriloquism. There are two ways to use ventriloquism in the art of storytelling. One is to make it look like. This kind of ventriloquism is suitable for a performance style that is closer to life. For example, Tian Lianyuan learns to brake and open the door, which is really similar. Here, you can insert two comments about Tian Lianyuan. An important feature of Tian Lianyuan's storytelling art is the modern interpretation of traditional storytelling. As I said before, compared with traditional storytelling, an important feature of modern storytelling is delicacy and life. After Yuan Kuocheng changed to read traditional books, he didn't bring this feature of modern storytelling into traditional books (Yuan Ke could keep the style of traditional storytelling). It was Tian Lianyuan who completed this task. So as I have said, Tian Lianyuan is very much like Yuan Kuocheng in the early years.
The second way to use ventriloquism is to make it beautiful, that is, artistic ventriloquism. This kind of ventriloquism is suitable for freehand brushwork, that is, the expression style of traditional books (except Tian Lianyuan). For example, Yuan Kuocheng's Romance of the Three Kingdoms begins with this: "Guan Yunchang chopped Hua Xiong with warm wine. He walked into the tent with his eyes closed and his long beard twisted, making a fuss and throwing Hua Xiong's head in the tent. Zhang Fei laughed when he saw it. My second brother is the best in the world. " Yuan Kuocheng's ci is full of ups and downs and rhythms, in which a ventriloquist throws his head, "Teng Gu Lu Lu" is used. I believe that Guan Yuwen can make the country rich and strong, but I never believe that he can make such a public appearance in music. What Yuan Kuocheng used in this place is actually an artistic ventriloquism.
The so-called artistic ventriloquism has at least two functions. First, it describes the sound to set off the atmosphere, which is the most basic requirement of ventriloquism. Second, it is mixed with sentences to make the sound more rhythmic and undulating. There are also some ventriloquism skills that can play the role of gongs and drums in Beijing opera (of course, gongs and drums also have the role of setting off the atmosphere), so we should understand them carefully.
Good at setting the tone for different types of books.
An important feature of the folk song Liangshan in Shui Bo is that Yuan Kuocheng created an "environment" or "atmosphere" with extremely fast speech speed. In fact, this is an important feature of Yuan Pai's storytelling, while Yuan Kuocheng is good at setting the tone for different types of books. If you listen to different types of storytelling in Yuan Kuocheng, such as robes and bunts, you will find that these different types of storytelling have different atmosphere (or different styles of storytelling). As long as the artistic accomplishment is deep enough, the Yuan school can tell stories without considering the story content. As long as you feel the overall atmosphere created by Yuan Kuocheng for the whole story-telling, you can accurately tell whether it is a robe or a bunt, a modern person or a ghost. Romance of the Three Kingdoms is no exception. Yuan Kuocheng gave full play to his profound skill, and through the control of voice, the use of breath and the combination of ventriloquism, he performed a magnificent story of Three Kingdoms, full of epic rhythmic beauty. This is also the most successful place in Yuan Ban's Three Kingdoms.
As far as the whole book is concerned, this is how Yuan Kuocheng tells stories. If we want to struggle with the details, Yuan Kuocheng can create different small atmosphere for different scenes, so that we can feel the iron horse and tense atmosphere of the Three British Wars against Lyu3 bu4, and we can also feel the sadness of walking in Maicheng. The above is an important feature of the formal beauty of Yuan's Romance of the Three Kingdoms.
6, the triple realm of storytelling * * *
Atlas of the Cover of Yuan Kuocheng's Works
Storytelling has three realms. The first realm is telling stories. The so-called Quyi, listening to books and dramas tirelessly, is a story for most listeners. The second realm is knowledge, and this kind of storytelling will be fruitful after listening to it. The first two realms are aimed at the content of storytelling, which can be called the content beauty of storytelling art, and the third realm is his formal beauty. As far as the reflection is concerned, Dan Tianfang's reflection is in the first realm (Dan Tianfang is not famous for it), Lian Kuoru's reflection can reach the second realm, and Yuan Kuocheng's reflection can reach the third realm. The Yuan version of the Three Kingdoms has achieved such great success because it has been fully expanded in these three realms. Apart from a few slips of the tongue, The Romance of the Three Kingdoms by Yuan is a perfect work and a milestone in China's language arts.
Finally, there is an incidental problem. Although some veteran fans acknowledge the achievements of The Romance of Three Kingdoms, they think that The Romance of Three Kingdoms ruined Yuan Kuocheng, and Yuan Kuocheng spent all his storytelling skills on The Romance of Three Kingdoms. Specifically, Yuan Kuocheng said that the Three Kingdoms caused three major hazards. First of all, in order to create an epic atmosphere in The Romance of the Three Kingdoms and show the ruggedness of some characters, Yuan Kuocheng used the horizontal tone. As a result, his voice was ruined, and Yuan Kuocheng's voice was no longer mellow. Secondly, out of respect for the culture of the motherland and for the seriousness of The Romance of the Three Kingdoms, Yuan Kuocheng gave up imitating characters as an important means of telling stories, and gave up forever. Thirdly, The Romance of the Three Kingdoms is good at commenting, which leads to Yuan Kuocheng always wanting to add his own opinions to the follow-up bibliography, so he often digress.
old age
1, a representative work in his later years
There are not many books that represent Yuan Kuocheng's style in his later years, only The Romance of the Gods and The Romance of the Three Kingdoms on TV. Among them, the TV version of "Three Kingdoms" is not as brave as the radio version of "Three Kingdoms" because of its long history. On the contrary, it is a bit about discussing the Three Kingdoms, but its style is similar to connecting the Three Kingdoms. In short, the radio version and the TV version of the Three Kingdoms are two sets of storytelling with different styles. Of course, as far as the two are concerned, the former is definitely better.
What needs special attention is the meta-version of Shen Feng. It is said that this set of books was written by Yuan Kuocheng at the age of 75. Due to the advanced age at the time of recording, this set of books has become the one with the most slips of the tongue among all the ballads in Yuan Kuocheng, which is of course a pity. But as the saying goes, flaws don't hide Yu. This set of books is Yuan Kuocheng's masterpiece after he entered his later years, another peak of Yuan Kuocheng's storytelling art, and the most orthodox and highest-level set of various versions of Shen Feng.
2. Yuan Kuocheng version of the legend of ghosts and gods.
The famous Romance of the Gods has three editions, namely, Wang Wenyu edition, Dan Tianfang edition and the latest Yuan Kuocheng edition. As far as single edition and meta edition are concerned, if we only discuss it from the details, you say you are hot and I say I am humorous, which is absolutely inferior to the pros and cons. In fact, there is a major qualitative difference between the single edition and the meta edition, that is, the positioning of this book is different. Dan Tianfang defined this book as a robe book, while Yuan Kuocheng defined it as a ghost book or a supernatural book. Judging from the content of the Romance of Gods, there is nothing wrong with the positioning of harmony, because this book does have two lines: the king of martial arts cuts Zhou, and the chop will seal the gods, which can be regarded as both a robe book and a ghost book. But in comparison, Yuan Kuocheng's positioning is more accurate and ingenious, which can be explained from two aspects.
First of all, the name of this book is "Romance of Gods", not "The King of Wu attacked Zhou". The main story of this book should be to chop the generals to seal the gods, and the king of Wu's chop of Zhou is only the carrier of the story. It's like growing a cucumber. The cucumber rack is just a carrier, and the cucumber vine is the cucumber itself. Therefore, in this sense, Yuan Kuocheng defines this book as a ghost novel, which is more accurate than Dan Tianfang's robe novel. Secondly, the traditional storytelling is called robe bunt, and the bibliography of robe books is particularly large, while the bibliography of ghost books is quite limited. There are few books about ghosts and gods. Yuan Kuocheng regarded The Romance of Ghosts and Ghosts as a novel about ghosts and gods, which in itself has an advantage of attaching importance to rare things. Therefore, compared with Dan Tianfang, Yuan Kuocheng's positioning of The Romance of Gods is more brilliant. For a book, accurate positioning is the key to its success or failure. Just like two versions of the TV series The Journey to the West, the later episode of 15, although the stunts are better and the martial arts are more exciting, it is far less classic than the old version. The key reason is that the supplementary version of The Journey to the West, like a martial arts film, failed to capture the most essential features of The Journey to the West's fairy tales. On this issue, storytelling and TV drama are the same.
The death of a character
20 15 At 3: 30am on March 2nd, the famous storytelling artist Yuan Kuocheng died of heart failure at the age of 86.
On March 8th, 2005, the funeral of storyteller Yuan Kuocheng was held. "Three outstanding storytellers" Dan Tianfang, Tian Lianyuan and Liu Lanfang appeared together, Miao Fu and Jiang Kun also appeared at the memorial service, and Liu Shishi and Nicky Wu presented flowers.