2023-05-21 02:05:00
Original title: Literary and artistic creators should be wary of fake heroine dramas
Beijing Youth Daily reporter Zhang Enjie
Recently, the Beijing Federation of Literary and Art Criticism series of academic dialogue activities “She is writing: Reading and writing of female writers” was held at Tianqiao Art Center. The panelists conducted heated exchanges around the reading and writing of female writers, reviewed and sorted out the development process of Chinese female writing, and explored the significance of reading from a female perspective and female literary writing.
Everyone’s writing has limitations
During the dialogue, Zhang Li, a professor at the School of Liberal Arts of Beijing Normal University and deputy director of the Prose Committee of the Chinese Writers Association, believed that “everyone’s writing has limitations, not just women.” For a long time, people have subconsciously believed that male writing is superior to female writing, because the history of world literature and the history of Chinese literature are almost all composed of male writers, and the standards for classics are also constructed by male writers.
“When we judge how high a society’s women’s literary achievements are, even if there are no outstanding female writers such as Xiao Hong, Ding Ling, and Zhang Ailing, when countless unknown writers pick up their pens to write about women’s lives, our women’s writing today has Progressively achieved.” Zhang Li believes that this is “the real light of women’s writing of the times and the charm of women’s literary writing”.
In 2018, Zhang Li conducted a large-scale survey on gender views among 127 emerging contemporary Chinese writers. When asked how they perceive gender awareness in their own writing, male and female writers respond very differently. Male writers are not shy about the masculine consciousness in writing, showing a strong sense of self-confidence and security, while female writers regard female consciousness as an object to be overcome. So how should women’s writing be viewed?
Qiao Ye, vice chairman of Beijing Writers Association, shared her more than 30 years of writing experience. She concluded, “My writing for more than 30 years is a process of self-awareness inward, and a process of cognizance of the world outward.” “We say that women’s writing has limitations, so don’t men’s writing have limitations? When you break through the limitations, your own position will also become an advantage.”
real literature has no diacritics
Qiao Ye regards the latest novel “Bao Shui” as her return to her hometown and her cognition of women. “At that time, I hoped to wash away my rusticity, so I had a very hard effort. Why is it hard? You have to distance yourself from your nature and fight against it, but it’s like a mole on your skin. No matter how hard you try to fight, it won’t pay off.”
Li Fang, vice president of the Chinese Prose Society, believes that “no matter what kind of premise women’s writing exists on, as long as it is controlled by gender consciousness, there will be a natural weakness.” She mentioned the discussion on “Little Women’s Prose” in the 1990s , believes that “whether it is writing by a big woman or a small woman, first of all, it is a moral judgment on women’s writing on a macro level, and moral judgments have never been placed on men’s writing.”
Li Fang believes that “Only when the literature itself is so strong that it supports everything can it be real literature. Real literature breaks through gender consciousness, and even breaks through the consciousness of the times, without additional symbols.” For example, Lu Xun’s “Wild Grass” is still sonorous and powerful when we read it today. No matter what time or situation we are in, we have reasons and insights to read it. This is the value of literature itself.
Literary and artistic creators must stay awake
Combined with the audience’s questions, the panelists extended their views from the field of literature to the field of film and television, and expressed their views on the popular female lead dramas in recent years. Zhang Li analyzed the heroines in “Story of Yanxi Palace” and other dramas, and believed that the heroines in these dramas are not real heroines. Their ultimate goal is to become the emperor’s favorite me and share the glory of power with the emperor. She believes that “a real woman should be the person I want to be, not the person you like.”
Zhang Li also reminded literary and art creators in the era of big data, “to stay sober, to lead this era, be wary of ‘big heroines’, and be wary of information cocoons.” At the same time, she also reminded the female audience that today’s female readers have a very important understanding of themselves and their situation. “Don’t think that your future is bright when the female consciousness of the whole society is awakened. When you fall into everyone’s situation, you will know that it is all up to you.”
Talking about the creation of leading female lead dramas, Qiao Ye pointed out that we should be wary of female growth scripts that are supported by male protagonists as a strong background, because this may be a fake leading female lead play. Compared with other so-called major heroine dramas, Qiao Ye said that she prefers Xu Banxia in “The Wind Blows Pinellia”. “The TV series “Wind Blowing Pinellia” is the history of women’s entrepreneurship in the Iron Kingdom. The hero and heroine in the play grow together and even test each other, so as to truly achieve emotional integration and resonance.”
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