19 19 participated in the may 4th movement in his hometown, and initiated and founded the first progressive publication "Double Ten" in Zhejiang at that time with his classmates (the second issue was changed to "Zhejiang Fashion").
1920 went to Japan to study and began to accept Marxism.
1927 After the failure of the Great Revolution, he joined the China * * * Production Party, engaged in the workers' movement, and translated Gorky's Mother and other foreign classics.
1929, Zheng and others organized the Shanghai Fine Arts Society and took the lead in putting forward the slogan of "proletarian drama" to carry out proletarian drama activities.
1930 joined the leftist league and was elected as the executive Committee of the leftist league.
1933, he served as a member of the Shanghai Cultural Committee and the head of the film group, and was the pioneer and leader of the progressive films in China. His works include the screenplay Crazy Flow, Spring Silkworm, Drama Qiu Jin Biography, Under the Roof of Shanghai and reportage Contract Worker, which had a great influence on the progressive literature and art in 1930s. After the outbreak of War of Resistance against Japanese Aggression, he presided over Wang Jiu Daily and China Business Daily in Shanghai, Guangzhou, Guilin and Hongkong, and then moved to Chongqing. Under the direct leadership of Zhou Enlai, he presided over the cultural movement in the rear area. He is the acting editor-in-chief of Xinhua Daily. He has adapted and created screenplays such as Blessing and Lin Jiapu, and written theoretical monographs such as Several Problems in Writing Screenplays, Selected Plays of Xia Yan and Selected Works of Xia Yan.
After the founding of New China, he was elected as a member of the first National Committee of the China Federation of Literary and Art Circles.
65438-0955 Deputy Minister of Culture, in charge of film and foreign affairs.
1960 was elected vice chairman of China Federation of Literary and Art Circles and executive director of China Film Workers Association.
1979, attended the fourth national literary congress and was re-elected as the vice chairman of the China Federation of Literary and Art Circles; In the same year, he attended the second member congress of the Chinese Film Association and was elected as the chairman of the Chinese Film Association.
1988, attended the Fifth National Cultural Congress and delivered an opening speech.
1994 was awarded the honorary title of national outstanding film artist by the State Council.
1995, died in Beijing Hospital.
Xia Yan fought for 70 years in the turbulent literary world of China in the 20th century, and won people's respect and love for his tireless unique character and brilliant achievements of being brave and good at fighting. He became an outstanding pioneer of the New Culture Movement in China and the leader of the cultural front.
In the process of "Xia Yan Studies", we have further expanded and deepened our understanding of Xia Yan's hard life and outstanding contributions. This century-old man has worked tirelessly in many cultural fields and achieved remarkable results.
one
Comrade Sun said: "It is the root of China's films." Really hit the nail on the head
Xia Yan's contribution to the development of China films is unparalleled.
In the early 1930s, due to the need of struggle, the party organization sent Xia Yan into the cultural field and went deep into the film industry. On the orders of the Party, he devoted himself to a new journey. Together with Zheng and Zheng, he translated The Theory of Film Directors and The Theory of Film Scripts by movie master and pudovkin of the Soviet Union into China, which laid a theoretical foundation for China films to attach importance to literary creation and directors to use montage language. Just like a "fire thief" sent fire and skills to this world.
Subsequently, the party organization decided to set up a film group headed by Xia Yan (alias Huang Zibu) to explore the left-wing cultural position. They have successively opened film supplements in major newspapers and periodicals in Shanghai and published a large number of weighty film criticism articles; The organization of the left-wing film team has been strengthened, forming a fairly strong creative force; Vigorously translated and introduced the Soviet film creation and theory, translated and published Xia Yan's Soviet audio film script "Life" with Ding Qianping as the pen name, which was the first Soviet film script translated by China ... With hard work and strong struggle, they promoted the emergence of the climax of 1933 left-wing film creation and wrote a glorious page for the history of China film. Among them, Xia Yan's achievements and dedication are indelible.
In order to explore the law of film creation, he became a special frequent visitor to the cinema, holding a stopwatch, flashlight and notebook and watching a movie several times. In his own words: "first look at whether a shot is a distant view, a close-up view or a close-up, and then analyze why this shot is used like this and why it can be touching." After a shot or a scene is over, count a few seconds or minutes with a stopwatch, and then count how many feet a * * *. Such scenes are learned one by one, and the skills of film scriptwriting are gradually mastered. "
Xia Yan's first film "Wild Flowers" was released in March 1933, which caused a sensation in Shanghai. In a sense, this is the real birth of China's new films. It aimed at the countryside for the first time, which was the first realistic masterpiece of China's film. In the same year, he presented four excellent plays for the audience; Since then, more than two films have appeared every year. 10 Many films have won a wide audience with a brand-new attitude, broad vision of life, distinctive themes and ingenious artistic ideas, and established his highly respected position in the film industry.
"Spring Silkworm" is Mao Dun's masterpiece, and Xia Yan successfully put it on the screen, creating a precedent for the adaptation of famous works into movies. This is also the first attempt to adapt China's new literary works into films, which has won unanimous praise from the audience, literary and art circles and Mr. Lu Xun. After more than half a century of ups and downs,1980s, at the China film retrospective exhibition held in Italy, "Spring Silkworm" was praised by western film peers. After the founding of New China, Xia Yan creatively adapted Blessing (Lu Xun), Lin Jiapu (Mao Dun), Resting Garden (Ba Jin) and My Family (Tao Cheng) into films, making them masterpieces in the history of China film, reaching the peak of film art and having permanent vitality.
Xia Yan's "Several Problems in Writing Movie Scripts" written in 1950s is an important theoretical work on film art creation. It not only summarizes the valuable experience in film creation, but also summarizes and expounds the universal laws in the field of film art. Ou Yangyuqian commented: "Concise and concise, with far-reaching meaning, is a good signpost for those who learn to make film scripts and drama scripts." This book has become a must-have for the first generation of filmmakers in New China.
After the founding of New China, Xia Yan, who was in charge of movies, often began to modify scripts for others. He personally changed the scripts of many famous movies, such as Song of Youth, Five Golden Flowers, The Storm, Nie Er and Doctor Bethune. Early Spring February was revised by him more than 240 times. Comrade Deng Xiaoping once praised him as a "film doctor".
Xia Yan's immortal contribution to China's film industry is hard to describe. On the occasion of the 65th anniversary of the pioneer's revolutionary literary works, the State Council awarded him the honorary title of film artist who has made outstanding contributions to the motherland.
This is Xia Yan, a master admired by the film industry.
two
Xia Yan showed an outstanding demeanor in the field of drama. From 1930s to 1950s, he published nearly 30 plays, including novels, one-act plays, translated plays and With Friends. Among them, Under the Roof of Shanghai, Fascist Bacteria and The End of the World are regarded as his three representative works with classic significance because of their permanent artistic charm. His plays had a great influence on China's plays, which made him a unique and famous playwright in the history of China's plays. His common name "Xia Yan" is also famous for the publication, performance and sensation of his first full-length play "Sai Jinhua".
Throughout Xia Yan's drama creation, he has his own outstanding characteristics from thought to art: First, the organic unity of distinctive politics, strong sense of the times and skillful artistic expression. All his plays revolve around the times, society and life, but they are always expressed by artistic means. Because most of them were written in the period of War of Resistance against Japanese Aggression, almost all of them were related to War of Resistance against Japanese Aggression, and they were filled with the flavor of the times of the national war of resistance. He is good at describing the deterioration and decline of the old era and the birth and growth of the new era in a corner of society from reality. On the one hand, he reflected the suffocating dark age through the characters and stories in the play; On the other hand, it has placed infinite hopes and longings. Because of this, his plays always remind the audience and readers of their sadness and joy. Tang Tao, a famous critic, praised it as "a fresh political lyric poem".
Secondly, most of the protagonists in Xia Yan's plays are ordinary little people he is familiar with. He is good at describing people with different backgrounds, different upbringing and different personalities, but with good hearts. He often puts these characters in a special environment, making them stumble, hurt, hate and regret, and finally reach a possible ending. The positive figures he praised in his works are always flawed and branded with the times and classes, so they are more real and natural. When describing a character, his main artistic means is to mold his character and dig deep into his inner world. He strictly demands that the characters in his works are flesh and blood, in line with the logic of life and true. He said that only the truth can be convincing, and only through the real and complicated thoughts and feelings of the characters can we communicate with the audience and arouse the voice of * * *. He accurately reproduces the different personalities of different characters with delicate psychological description; He sketched with the action of washing and practicing, and deeply analyzed the unique inner feelings of the characters; He uses organic situations to render, which makes the environment of the characters constitute an inseparable whole of life. These unique handwriting shows the outstanding artistic skills of the Summer Palace.
Thirdly, the artistic structure of Xia Yan's plays is concise and concentrated, rigorous and symmetrical, and the artistic conception is far-reaching, which is consistent with his whole artistic style. His drama plots always revolve around the theme, with few branches, such as "the end of the world". He pays great attention to the transition of drama structure and layout, such as Under the Roof of Shanghai. Some people say that his plays are too dull, but we just think that this is his uniqueness and his unique artistic pursuit. He always uses brush strokes to render a diluted and far-reaching artistic conception, from which he profoundly depicts the spiritual oscillation and inner struggle of the characters, such as fascist bacteria. The structural techniques of his plays are natural and reasonable, leaving no trace, which almost makes people unaware of the writer's ingenuity, as if life flows naturally, which is the unique artistic talent of the Summer Palace.
Xia Yan's plays show long-term artistic vitality to later generations; Xia Yan's insightful view of drama, which explores and summarizes the artistic rules of drama creation, will also have a long-term enlightening effect on later generations.
three
The late 1920s was the darkest time in China. Xia Yan first gained a firm foothold in Shanghai by translating foreign theoretical books and literary works, and became famous in the literary world with the name of translator Shen Duanxian. His first translation was Women and Socialism by Baerbel, an outstanding French Marxist. This is the earliest and most faithful book to study women's issues with Marxist theory; It was also through his pen that the first classic Marxist book on women's issues was introduced to China, which had a great influence on women's circles after its publication. Hu Ziying, an early female sports worker in China, specifically mentioned it in her memoirs written in 1980s. At that time, when they organized women's progressive groups, they specially chose this book as learning materials. Since then, many progressive literary works and papers have been translated, such as Akutagawa, Kimura Yi and Jin. The European modern literary thoughts and emerging literary theories he selected and translated also played an important role in the progressive cultural circles. Because of his outstanding achievements in this field, he was elected as one of the nine executive members when 1928 Chinese Writers Association was established.
Of course, the most important achievement of Xia Yan's translation career is the translation and dissemination of Gorky's Mother. The first representative work of socialist realism in the world was first introduced to China through his pen. For the people of China under high pressure, mother is a ray of light that illuminates their hearts. Because of this, it became a best seller, reprinted twice a year, and was soon banned. The clever bookstore owner changed the cover from red to green, printed the third edition, and was ordered to ban sales nationwide. Xia Mianzun, a cultural celebrity, confronted Shao Lizi, a veteran of the Kuomintang, changed the title of the book to Mother, signed it by Sun Guangrui, and made an exception as a forgery. Ming Kai Bookstore published five editions in a row, but it was banned again. But its powerful influence among readers cannot be banned, and it always circulates endlessly until today.
1In June, 936, Xia Yan published the work "Bonded Worker", which is regarded as a model of China reportage, and it immediately received great social repercussions. On the basis of a lot of hard and serious investigations and experiences, he made an accurate judgment on the hell on earth where bonded laborers lived with amazing insight and gained a profound understanding. Then, with his unique cold and sharp pen, he presented the lowest life of China workers in 1930s to readers with blood and tears. Reading such words reminds people of1Marx and Engels' description of the tragic fate of the proletariat in Western Europe and North America in the middle of the 9th century. The end of the work points out: "However, the arrival of dawn is irresistible after all." In those days, Solo warned Americans to be careful of the bodies lying under every sleeper, while Xia Yan warned these colonists to be careful of China's murder on every moaning spindle. Shortly before leaving, the old man said, "I think only contract workers can stay in my works." This is, of course, his harsh evaluation of his works, but it also reveals his emphasis on the objective value of this masterpiece handed down from generation to generation.
In August, 1937, Wang Jiu Daily, with Guo Moruo as president and Xia Yan as editor-in-chief, was published in Shanghai. This is the moment when he started his career as a journalist, and it is also the starting point of his new bumpy journey in 12. He once said more than once: "I am most afraid of being called a family in my life. I just want to be an honest reporter." He often says humorously that he is just an amateur writer and his real job is news. From this, we can at least appreciate his attention to the news frontier posts. Yes, the reporter's achievement of 12 is actually reflected in the achievement of about five or six million words. In what he considers to be "the most unforgettable year of life 12" and "the most enjoyable year of work 12", he writes nonstop almost every day, at least one or two thousand words a day. Political papers, essays, essays ... all kinds of contents are all-encompassing, and politics, thoughts, theories, culture, art, science, people, social life, current affairs comments and travel notes at all times and all over the world are really colorful. Comrade Liao Mosha said in the preface to "The Style of Lingyun Sword" written for Xia Yan's essays: "Comrade Xia Yan is really one of the few writers in China literature." Besides the editorials, reports and blanks that he has to write in The Wang Jiu Journal and other newspapers every day, he is also very good at his unique skills: natural science sketches, which are always full of interest and vitality. As Liao Lao pointed out: "It is rare, well-founded and fascinating to describe and introduce the growth and changes of natural things in a centralized way like Comrade Xia Yan, or to discuss people and things with natural scientific knowledge." This can be proved by his 1940 war essay Weeds written in Guilin, from which we can see the soul of this elder. The article writes:
"... no one calls grass" Hercules ",but its power is really unparalleled in the world. This power is invisible to ordinary people. As long as life exists, this power will appear, and the stones on it are not enough to stop it, because it is a "long-term resistance" power, which is elastic, flexible and tenacious. Seeds do not fall in fertile soil, but in rubble. The seeds with vitality will never sigh pessimistically, because only with resistance can they be tempered. The grass that brings struggle at the beginning of life is tough grass. Only this kind of grass can proudly laugh at the potted flowers raised in the glass shed. "
Writing is like a man. Only his pen can write such an article! A few hundred words tell a truth that covers everything in the universe through the ages. The brushwork is so concise, vivid, profound and incisive, expressing feelings, determined to win, and benefiting friends.
After the liberation of the whole country, Xia Yan said to himself, "People who are used to being editors or journalists will have one's fingers itch like actors who don't go on stage once they put down their pens." Then, at the request of Xinmin Evening News, a column of "Gossip under the Light" was set up to correct the current abuses and strengthen the body and eliminate evil spirits. In the 1960s, at the invitation of People's Daily, he wrote a series of articles summarizing experience and evaluating gains and losses with friends in the literary and art circles under the general title of "Long and Short Notes" in view of the mistakes of the Great Leap Forward. Its exquisite words are widely circulated among readers.
Outstanding achievements in art have not become a burden or restriction on Xia Yan's career. He loves art, but it doesn't stop there. During his revolutionary life, he did a lot of work, such as organizing, explaining, mobilizing, persuading, arranging, welcoming, striving for and rescuing, which may be disdained by artists. This is such a concrete, meticulous, difficult and arduous trek. It is the most precious affection to warm life and the earth directly with your body temperature. The exact conclusion of when and who the word "Summer Palace" began remains to be verified, but in Chongqing, the capital of War of Resistance against Japanese Aggression, friends in the literary and art circles call him this way. Gong means integrity and selflessness; In our traditional culture, the public is also a respectful name for the elderly. At that time, the mountain city of Chongqing was the political and cultural center of the rear area and the place where intellectuals gathered. Life is hard, the environment is sinister, contradictions are intertwined and difficulties are numerous. It is no accident that he has just entered the age of no doubt and worked in this special circle to get such a title. According to some old comrades' memories, the literary and art circles are naturally full of contradictions and emotional impulses, while the Summer Palace often turns red-faced disputes into a harmonious atmosphere with sober reason and calm patience. He can be called a "scavenger" in the literary and art field.
Xia Yan is loyal to the Party. When he was a child, his family came down. He was the youngest and thinnest of the eight brothers and sisters. At the age of 3, he lost his father, and with the help of his widowed mother and relatives, he barely solved the problem of food and clothing. Poverty and embarrassment made him introverted and unsmiling, and his loving mother affectionately called him "the cat in the hole." /kloc-graduated from high school at the age of 0/4 and worked as an apprentice in a dyehouse; /kloc-when he was 0/5 years old, he was recommended to study in the dyeing and weaving department of Zhejiang Lijia Industrial School because of his excellent academic performance. 19 years old, devoted himself to the May 4th movement, and published fierce words attacking feudal conservative public opinion, which was praised by Chen Duxiu. At the age of 20, he graduated with honors and was entrusted by his teacher to study in Japan. In the Department of Electrical Engineering of Meiji Special School, he read Marxist works such as Manifesto of the Productive Party, and the thought of "cat in the cave" caused waves, walked out of the cave of "saving the country by industry" and became a fierce leftist among international students. Under the personal care of Dr. Sun Yat-sen, he appointed General Li Liejun to introduce him to join the Kuomintang, but was immediately rejected by the Rightists. 1927 when he returned to Shanghai, he was exposed to white terror. He believed in materialism and showed him the true elegance. He was completely disillusioned and resolutely entered the ranks of revolutionaries surrounded by blood and fire, becoming a * * * party member. After finding Marxism and the Party, he became strong and confident. He followed the Party's ideological line all his life and adhered to the spirit of "seeking truth from facts".
When the bright sunshine breaks through the thick haze, people's hearts are full of joy! The Central Committee of the Communist Party of China rehabilitated Xia Yan, restored his reputation and arranged for him to work again. He is old, energetic and energetic as ever. Together with the motherland and the people, he embarked on a journey of striving for lofty ideals, socialist modernization and the new culture of the Chinese nation, and he has worked tirelessly for 20 years.
At the age of 85, Xia Yan wrote 330,000 words of important book "Lazy Looking for Old Dreams" and dedicated it to the people. He told readers: "I am ordinary, but after my time, I am really great."
After his 90th birthday, he made unusual arrangements for the things behind him:
He donated all the Tibetan paintings worth 1 million to the Zhejiang Provincial Museum on condition that there were no bonuses and certificates. He can't forget that it was the elders in Zhejiang who sent him to Japan to study with official fees.
He donated the rare treasure Nalan Chengde Long Scroll to Shanghai Museum under the same conditions. He can't forget that Shanghai, a brilliant city, led him to the stage of struggle.
He donated priceless and precious stamps to the country for free.
He donated all his books to the China Museum of Modern Literature.
……
What else can he donate? Calligraphy and painting, long scrolls, stamp collecting and book collection, no matter how precious, are also valuable; However, his passion and loyalty to his motherland and career are priceless!
Xia Gong died at the age of 95; But his spirit will live on forever!
Today, Xia Yan's talent, wisdom, will, personality and his dazzling humanistic spirit have merged into the vast ocean of the long cultural tradition of the Chinese nation; At the same time, he enriched this huge cultural ocean with the supreme character of modern people.
1 Hu; On Xia Yan's Drama and Traditional Chinese Opera [J]: Journal of Guangxi Normal University (Philosophy and Social Sciences Edition); 2003 02 issue
2 Li Na; ; On the Prose Style of Xia Yan's Essays [J]: Journal of Harbin Vocational and Technical College; 2008 03 issue
3 Li Jun; On the adaptation of Chinese and western films [J]: theoretical circle; May 2004 issue
4 Wei Fuhui; On the main characteristics of Xia Yan's realistic drama view [J]: Journal of Liaoning Normal University; Issue 4, 2004
5 He Sanfen; On the linguistic features of Xia Yan's plays [J]: Journal of Ningbo University (Humanities Edition); 2005 04 issue
6 Bai Jie; ; The dispute between the criticism of Wild Rose and the right to speak [J]; Journal of Shijiazhuang Railway Institute (Social Science Edition); 2008 02 issue
7 Yuan Xiaoping; ; Film and television adaptation of Cao Yu's plays [J]; Journal of China Youshi University (Social Science Edition); 2009 03 issue
8 Zhu Xiaofeng; ; The exploration of "modernity" and "nationality" [J]; Frontier of literature; Issue 02, 2002
9 broad sky; ; Mass media and patriarchal society [J]; Journal of Southwest Jiaotong University (Social Science Edition); 01released in 2007
10 Yuan Xiaoping; ; Form transformation in the adaptation of modern masterpieces [J]; Journal of Xianyang Normal University; 0/kloc-0, released in 2009
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1 He Yuhong; Study on the Style Discourse of Cao Yu's Dramas [D]: Huazhong University of Science and Technology; In 2007
2 Wang Guoying; Power, discourse, political culture [d]; Zhejiang University; the year of 2008
3 sheets; A Study on Diaries of Modern Writers in China [D]; Lanzhou University; the year of 2008
4 Lu; Idealism tendency in rural film creation in New China [D]; Fudan University; In 2007
⑤ The pool water is skyrocketing; A comparative study of China's Suzhou Tanci and North Korea's Pansuoli [D]; Central University for Nationalities; In 2004
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1 Cheng Yanjun; Research on the adaptation of The True Story of Ah Q: Henan University; In 2009
② He Jun; Study on the Characters in Guo Qihong's Historical Plays [D]; China Academy of Fine Arts; In 2009
3 sheets; Xia Yan's Practice and Thought of Running a Newspaper [D]: Henan University; the year of 2008
4 Jin Huizhen; From novel to film-A study on the transformation of modern and contemporary literature in China [D]; Qingdao University; In 2004
5 Zhao Min; Linguistic features and translation of English films [D]; Guangxi University; 200 1 year
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7 Zhu Xuefeng; Understanding dialogue fusion [d]; Nanjing Normal University; In 2004
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