Acknowledging that the beginning of "Da Song Gong Ci" was "radical", and the guilt lines had low-level mistakes

　　Li Shaohong has no complaints and fearless group ridicule to the point of deja vu "Gong Ci"

　　In 2018, the TV drama market is in the dual trend of IP adaptation and the "big heroine" winning the world.

At that time, many voices hoped to remake "Daming Palace Ci", which has a score of 9.1 so far.

However, as the director of the play, Li Shaohong refused: she felt that she was tempted by commercial enthusiasm. The more important reason was that she insisted on creating creation from a female perspective. "If you talk about "Daming Palace Ci" from another angle, it would not be familiar to me. "

　　That year, Li Shaohong finally chose to shoot the story of the legendary female Liu E in the folklore "The raccoon cat for the prince".

Powerful front and back lineup, the director's good at female narratives, and consistent exquisite and unique aesthetic expression... "Da Song Gong Ci" has been placed high expectations from its launch to its broadcast.

　　However, from the dramatic transition from the expectation of the crowd to the mockery of the entire network, "Da Song Gong Ci" only took one night to broadcast.

The first is that the plot seems to have gone eight times faster: Princess Zhao Heng gave birth to an earthquake, Emperor Taizong Zhao Guangyi and his fourth brother Zhao Tingmei were buried in the earthquake, Liu E rescued Zhao Heng and his love, Liu E and his family separated and had a miscarriage, Zhao Heng The eldest son was stabbed to death, Liu E was gifted to death by Song Taizong... You thought you watched a full-length feature film, but in fact it is the content of the first episode.

The high-density plot is mixed with a large number of flashbacks and flashbacks, which make many viewers confused; the second is that the characters appear flat and lack logic in the rapid progress, including the love of Liu E and Zhao Heng, Liu E's halo of the Virgin, etc. ; The third is that the lines are thin and routine, lacking the proper charm, and even low-level grammatical errors such as "the father and the emperor have liked the third brother since childhood".

Less than a week after the broadcast, the Douban score of "Da Song Gong Ci" fell from 6.1 to 3.8.

　　Many people do not understand why Li Shaohong "failed" so far.

Even in the middle of the drama, more and more voices began to "voice" for the drama, believing that it is a useful expression for the filming of historical dramas, especially how to view historical changes from a female perspective.

However, in the era of new media communication, fragmented and topical communication methods have made "Da Song Gong Ci" lost the opportunity to have a calm dialogue with the audience.

　　This is a regrettable reality.

But what is surprising is that when interviewed by reporters from Beijing Youth Daily, director Li Shaohong always revealed the creator's open-mindedness.

She didn't complain or dump the pot, and calmly reflected on her mistakes, but also revealed firmness and rationality.

　　dialogue

　　Face criticism

　　The beginning "radical" ignores the audience acceptance process

　　Beiqing Daily: The first and second episodes are very fast-paced. Even though there is indeed a so-called "life and death in the first five episodes" in the market, the current TV series generally tighten the opening rhythm, but the plot of "Da Song Gong Ci" has a sense of urgency. Still cause great discomfort to the audience.

What causes such a rendering effect?

　　Li Shaohong: I may indeed be a bit radical.

The story of "Da Song Gong Ci" has a large amount of information, 60 years span, and the narrative task is very arduous.

I want to clarify the relationship between the characters and the historical factors, and I want to use the film-like narrative method instead of the flat and straight narrative of the TV series. I want to keep the information as much as possible at the beginning and not lose it. Later, I will continue to look back to clarify the context a little bit.

Before the broadcast, the length was urgently adjusted. Objectively, it is impossible to trim the whole set a little bit, and only the fastest method can be used to complete the compression.

I wondered at the time: can I find a way to keep all the information we have taken seriously when facing the audience, and give the most comprehensive version that can better reflect the face of the story.

But the current presentation, the amount of information is really too "explosive" for the audience, this is the experience I need to sum up-I have been with this show for three years, all the details are well-known, but ignore the audience's need for one The process of acceptance.

　　Face controversy

　　The audience may not be comfortable at first and have the confidence to let everyone accept it slowly

　　Beiqing Daily: What do you think of the current controversy over this drama?

　　Li Shaohong: (Lines) I'm really guilty of being picked up wrong, I've been regretting why I didn't see it after I watched it thousands of times!

As for the criticism of style, I am mentally prepared.

In fact, author-style narratives have to face controversy.

Disputes are normal to me.

I remember that on the afternoon of the first broadcast of "Daming Palace Ci", the leader of the broadcasting platform called me and said to withdraw the broadcasting, unless all the parts about Wu Zetian's male favorite were removed, we had more than two hours of phone calls...broadcast After half a year, the controversy is still very big. What is not like a costume drama, the lines are not understandable and other critics, it is not like it is now praised.

The clothes don’t feel beautiful as soon as they come up, and the accusations of “indecent” are also indiscriminately bombarded.

It's just that there was no self-media at the time, and there were few feedback channels. It was not as straightforward as it is now, but the critics were blown up.

Later, an article summarized the play as "alternative" for the first time, thinking that although its authorial narration, aesthetics, and feminine historical views are not mainstream, they are acceptable and acceptable.

An "alternative" quickly settled the controversy.

The later "Orange is Red" also had a similar process from controversy to popular acceptance, so the experience of "Da Song Gong Ci" this time is somewhat similar to me.

The author's narrative at the beginning may panic the audience, but I am confident that after everyone has read and understood the creative ideas, they can slowly accept it.

　　Work perspective

　　Objectively tell women's stance and fight against the palace to speak for women

　　Beiqing Daily: What do you think of the so-called heroine dramas and cool dramas that are more popular in the industry?

The creation period of "Da Song Gong Ci" is inevitably caught in this market trend. Will you deliberately draw a line with it?

　　Li Shaohong: When we make movies, we emphasize the author's mentality, and when we make TV series, we also unconsciously use this idea to create.

Although the heroine drama was very hot at the time, I didn't want to be caught in the so-called trend.

Faced with such a story, I prefer to tell it from the status of women in the historical environment and from a relatively objective female standpoint, rather than just picking up a "big heroine" who is out of touch with the environment or even overhead.

　　Beiqing Daily: Is the female perspective in this work more willing to show the "reconciliation" of the harem women rather than the "fighting"?

　　Li Shaohong: Gong Dou is actually a male perspective.

This is a play of fighting against the palace, a play in which women's voices are heard in the long river of history.

The positioning of male imperial power for women is to give birth to heirs, and many things will be thrown away at women, including the so-called "black cat for a prince" to Liu E's "blackening".

In order to portray the image of Bao Zheng, literary works can easily interpret Liu E's sacrifice to protect the Great Song Dynasty as a vicious adoptive mother's plot.

This kind of interpretation is very normal in history. Women's voices are filtered out. This is also the biggest motivation for me to want to express them.

Childbirth is done jointly by men and women. The process of "changing" cannot be changed without male participation and disagreement. It must be a "conspiracy".

I want to find real possibilities for women in history and bring them to the audience.

　　I think Liu E is a feminist, and her heart is equal.

In her heart, she believed that this half of the sky was not given to me by you, Zhao Heng, and it naturally exists. The Great Song Dynasty that you asked me to guard is actually our common country, not a narrow "fighting" and fighting for imperial power.

　　Beiqing Daily: The title emphasizes that the play is a combination of "history and legend".

How do you define the subject matter of this work?

　　Li Shaohong: The space between historical reality and artistic reality has been the focus of confusion and controversy in the creation of historical dramas for a long time.

Recently, this kind of discussion has become high again in the anti-major costume, and some problems that have been solved have become unrecognizable.

Last year, Liu Heping published an article saying that the most important thing in literary creation is the concept of history, how to use historical materials to create better drama models.

In "Da Song Gong Ci" we always face the same problem, such as the very difficult to write the Chanyuan League.

In the end, our way of adaptation is to make everyone rethink war in the face of family affection.

Not only did it not belittle or obliterate the role of this war in history, but it also expressed that not only men such as Zhao Heng and Kou Zhun came forward at the juncture of history, but women also made contributions, and once again reiterated that this is common to all. world.

　　This group of articles / our reporter Yang Wenjie coordinated / Liu Jianghua