[Dialogue of Guangming International Forum]

　　Yan haiping

　　Professor and supervisor of modern literature, comparative literature and cross-cultural studies in Tsinghua University Foreign Languages Department and Chinese Department, chief professor of the World Literature Class in Tsinghua School, and dean of the Tsinghua University Institute of World Literature and Culture.

　　Martin Puchner

　　Byron and anita Wayne are professors of drama literature, English literature and comparative literature at Harvard University.

　　Laurent de Boriai

　　Life-long senior professor of French literature, French literature and comparative literature at Cornell University, winner of the French Palm Leaf Academic Knight Order.

　　Advantages and Disadvantages of Online Education and the Core of University Education

　　Laurent de Boliai:Optimists may think that the epidemic will provide an unexpected opportunity for the expansion of "global consciousness"-because we are all likely to be affected by a common threat, this crisis may bring a new sense of interconnection. But this is not entirely the case. For example, we can see that there has been some kind of localism turn or self-preservation retreat at the two levels of ideological tendency and daily behavior. Some changes can be positive, such as the emergence of a new experimental community life mutual help and self-help model; Some are variations of chauvinism, such as "exceptionalism" and "supremacy". Broadly speaking, as more and more of our thoughts are uploaded to the global network, the homogenization and standardization of individuals and their behaviors have reached the peak at all levels. Numbers seem to be ruling the way we communicate, express our emotions and express our opinions, and the way is often the content.

　　The core driving force of modern university education is academic creation, that is, to enhance the dual ability of connecting the past and building the future through intellectual creativity. This goal mechanizes and standardizes spiritual life, makes mental thinking inertial and procedural, and explains the ever-changing life with ready-made or simple reasons, which is opposite. All these phenomena and problems are aggravated by the isolation of many countries in response to the COVID-19 epidemic. As a university professor, my primary task at present is to protect the space necessary for creative thinking in the face of the challenge that the time required for human beings to realize education and creativity may be shortened, and to constantly make new and effective explanations.

　　On October 21st, in Frankfurt, a visitor (left) communicated with a staff member of the joint booth of "China Publishing" in the China book exhibition area of Frankfurt Book Fair. Xinhua news agency

　　Martin Puchner:Since the outbreak, we have continued to use zoom and similar video teaching platforms intensively, and now we are all tired. But obviously, online education has been greatly promoted. I joined a school-wide working group to think about the future of education. At present, we have put forward some quite ambitious plans, including creating a complete digital campus. There is a huge demand for high-quality education all over the world. I think this is an opportunity. Elite universities like Tsinghua and Harvard can educate more students than at present. This makes me very excited about the future of education. We have a good understanding of what works and what doesn’t work in online education. Now we can sum up the previous experience and lessons and design some really effective methods.

　　Yan Haiping:How not to make online courses an easy version of information dissemination is an important issue. Online teaching is not massive open online course, but real teaching and learning through cloud classroom. This puts forward new requirements for the humanistic use of technology, including the active grasp of technology, the ability of creative integration and the scientific cognitive spirit full of humanistic imagination. I once listened in on Mr. Tsinghua’s class online and was very inspired. For example, a teacher who teaches Shakespeare’s plays skillfully uses all media, such as text marking, poem recitation, scene performance, montage of visual materials, and interactive teaching and learning between teachers and students, thus teaching a three-dimensional Shakespeare and his world. As for the negative impact of the epidemic, there is no need to avoid it. Face-to-face discussion in physics class and the life style of knowledge community on campus contain the wisdom crystallization of civilization renewal and extension in the long history of mankind, which is irreplaceable by various technological revolution means including online teaching.

　　Great changes in education in the digital trend and the significance of humanities

　　Laurent de Boliai:We need to pay attention to the problems caused by the impact of new technologies, which may narrow our thinking range instead of opening up a broader space for human innovative thinking. The production mechanism of digital media has actually instilled in us a specific content, that is, under the logic of capital operation, under the guidance of market profit rules and operating procedures, providing "content options" that look constantly changing but are actually homogeneous. Our thinking and even our minds are also limited by "instant messaging" based on the Internet, and everything is programmed under the information pressure brought by the accelerated capital flow. This rapid change of procedure and so-called activity is a kind of interference, even a loss, for any human ideological activity that needs long-term attention and dedicated analysis.

　　In this regard, we need: first, to create a spiritual space for learning ideas, whose attributes and logic are different from the "capital flow" centered on immediate response program operation; Second, liberating humanities and education itself from being bound by technological operation and its efficiency logic is not against the scientific revolution-technology is not equal to science, but truly embraces the scientific spirit itself and forms an alliance with science, scientificity and revolutionary creativity as science; Third, adhere to the diverse connections and differences across time, space and environment in the life world.

　　Martin Puchner:I agree with the indispensability of humanities in the great changes of education. It is a great pity that the humanities hardly played any role in the future education Committee and working group I participated in. In short, part of the reason is related to misunderstanding. For example, it is believed that humanities degrees can not bring good career opportunities and life prospects to young people, although there are convincing statistics showing that this is not the case. Part of the reason is related to conservatism within the humanities, which leads humanities scholars to intuitively and habitually reject new technologies and other innovations. Part of the reason is related to the fine division of majors. At least in the United States, many courses taught by humanities scholars are designed for future majors in humanities and even literature, rather than benefiting the overall development of a wider student group and knowledge community. These problems existed before the emergence of online education, indicating that the humanities are now in a structurally weak position. At the critical historical turning point of the current development of higher education, this will bring many long-term regrets, because humanities can and must play an extremely important role. From what I have heard, there is no similar weakness in the humanities in China.

　　On October 14th, the audience took selfies at the China Silk Embroidery Exhibition at the Nazem Khikmet Cultural Center in Ankara. Xinhua news agency

　　Yan Haiping:Chinese’s literature is a part of the world’s humanistic literature. Like the academic circles in other countries, it faces many common challenges and opportunities in the great changes. In 2016, we initiated and jointly established the "China-UK Higher Education Humanities Alliance" with major Chinese and British universities including Peking University, Fudan University, Cambridge and Oxford. We propose that economic globalization, which is increasingly driven by digital media and technological revolution, as another stage in the long-term changes in modern times, is changing the face of the world that spans all countries and regions and is shared by mankind. In the great changes, everything in the world is closely linked, so the differences are fully revealed. In order to achieve sustainable development, humanities academic and humanities education, which focuses on cross-cultural knowledge production, communication and innovation, has a clearer historical function and important significance. This is the consensus basis for the sustainable development of the alliance so far.

　　All kinds of tensions and frictions in the global epidemic have confirmed the historical situation that human society is closely linked in profound differences. This situation is still accelerating, and the variables produced by scientific and technological changes in the next 30 years will exceed the sum of variables produced by scientific and technological changes since modern times. No matter how innovative science and technology are and how powerful the economy is in the era of globalization, the way in which it is related to human individuals, communities, nationalities, regions and different types of countries is particularly important. No country, region, population or individual can unilaterally cope with such great changes and reconnection in great changes, and multilateral cross-cultural humanities exchanges and cooperation are more urgent than ever.

　　In the concrete cross-cultural communication, we discuss how to grasp the concrete experience full of differences, melt the human knowledge that can be shared, and contribute to the world by explaining the world to describe China and describing China in the spirit of "humanity is new" in today’s world context composed of thousands of languages and their relationships. This is the theoretical origin of Tsinghua University’s establishment of the Institute of World Literature and Culture in 2016 to complete the organizational reform of foreign languages and literature departments. The term "world literature and culture" here can include, but not refer to, an established major, but point to a vision of cultural intercommunication and mutual learning of civilizations, so as to help us update our methods and fields in education, reading and academic work, hoping to leave an intellectual labor in the human welfare of "harmony and symbiosis" and "beauty and beauty".

　　What is needed in today’s world is exchange and cooperation rather than homogenization.

　　Martin Puchner:More exchanges and cooperation between countries and nations have always been extremely necessary and beneficial, and there will never be an end, and there will never be a day of satisfaction. At the same time, I often overestimate the power of communication and cooperation. Before the First World War, the world had achieved a considerable degree of economic globalization, but it was followed by a period of intensified and intensified narrow nationalism, including the two world wars that eventually led to it. Therefore, efforts such as international exchange, cultural communication and educational cooperation cannot solve all the problems in the human world by themselves. However, such efforts play an important role, especially in today’s world with multiple power centers, competition between different blocks and coexistence of different political systems. For example, the current tension or friction between China and the United States does not make me think that we should reduce exchanges and cooperation. On the contrary, this is the moment when we need to strengthen exchanges and cooperation more.

　　Laurent de Boliai:Theoretically, it seems that people today can easily establish contact with many different interlocutors. However, how do you choose the person you contact? How to talk, talk and even cooperate with them? In practice, the ready-made convenience of communication channels does not automatically mean that we have more space to meet others and gain new life experiences from them. There is often such a phenomenon, that is, such digital channels constitute many small groups "like us", which are clustered together in a homogeneous way, rather than gaining new experiences and growth from cultural diversity.

　　For example, the "identity politics" in the United States, based on skin color, race, gender, etc., brings "the same people" together. The paradox is that holding a group in this way actually compresses rather than expands people’s imagination, mental world and emotional friendship. There will be communication in groups that are identity-centered or focus on the intersection of several identities, but it is difficult to have a "dialogue", that is, it is difficult to gain new experiences that break through their own limitations and gain the ability to change by absorbing new experiences. At present, one of our goals should be to strengthen meaningful dialogue with different people, so as to protect the life world with creativity and rich possibilities.

　　Yan Haiping:The old China saying "Beauty and Beauty Together" and "Harmony and Symbiosis" I mentioned earlier carries the life information and wisdom of human beings in the long association. Humanistic research and education, which focus on cross-cultural communication and cooperation and innovation, is one of the contemporary knowledge carriers to inherit this information and wisdom, and one of the paths for different countries, nationalities, groups and individuals to learn from each other and update each other. Since the Peace Treaty of Westphalia in the 17th century, the geopolitics of modern nation-state originated in Europe and its hierarchical and balance-of-power logic dominated by power have had a profound and long-term influence on shaping the world pattern and its cultural concepts, including the established mode of taking nation-state as the category of knowledge production organization and its inertia limitations. After World War II, the field of comparative literature and a series of related interdisciplinary knowledge frontiers generated and developed in Europe and America are some intellectual reflections and cultural breakthroughs on the limitations of this established model.

　　As far as my personal experience is concerned, comparative literature, transnational differences, cross-cultural subject innovation and talent training in the United States are mainly composed of English, French, German and Spanish. In Tsinghua University, where I teach, Tsinghua’s humanities and Tsinghua’s culture, as one of the sources of China’s pioneering and developing humanities since modern times, have been characterized by innovative ideas and study methods across languages, cultures and civilizations from the beginning, which always contain inquiries about geopolitics and the logic of balance of power originating in Europe, and demands for diverse and new ways of modern national and ethnic relations.

　　Pay attention to the life world different from "standardization and homogenization"

　　Martin Puchner:The cross-cultural development of humanities faces many difficulties. At least in most colleges and universities in the United States, it is still the basic status quo to use the unitary nation-state as the cognitive framework of discipline organization to produce knowledge. In my opinion, this is the main problem. Reorganizing the structural layout of departments, updating the requirements of professional competence, changing the evaluation and examination methods, etc., need many conditions to support, and the change is really not easy. As far as my limited understanding is concerned, the world literature class established by Tsinghua University World Literature Institute and Foreign Languages Department is an important example. As far as the general conditions of colleges and universities are concerned, perhaps these changes will not happen until other conditions are in place, partly because humanists often insist on maintaining the inertial knowledge system, at least in the United States. A paradox that puzzles me is that many humanists consider themselves pioneers of social change, but when it comes to their own cognitive composition and production methods, they are often conservative. A major methodological change that is taking place in the humanities is the digital humanities. It was over-hyped at the beginning, which led to a predictable rebound, but in the medium and long term, interesting changes in humanistic methods may come from this corner.

　　Back to the cross-cultural perspective. I sometimes wonder whether the question also includes the dimension of "scale". A large society tends to be more conservative, narrow-minded and self-centered than a small society. Of course, scale is not the only important element, but I am more and more inclined to think that scale is an important factor. This means that a huge society like ours must make special efforts to enable students to gain their much-needed international vision and ability.

　　Laurent de Boliai:I am very willing to study very different languages, texts, behaviors and thinking logic with students, and feel very rewarding. We should encourage the younger generation to have a careful understanding of the inherent multi-faceted tensions and subtle differences in various languages, texts, ways of behavior and thinking logic, as well as the productive nature of these tensions and differences. In other words, we attach importance to the life world different from "standardization and homogenization", and we attach importance to the humanistic meaning of the life world, because we think it is more imaginative, rich and innovative than the standardized and homogenized culture. Between the speculative form of humanistic exploration and the limitless science and technology, we should re-establish a dynamic relationship. Scientific and technological innovation is the main driving force of today’s global society, and science and technology have never developed in isolation. The development of science and technology is the development of people’s life world, and the development of people’s mutual relationship, that is, cross-cultural association. We encourage a new generation of humanities scholars to boldly create, discover, grasp and even invent the interactive and ubiquitous connection between new theories and daily reality.

　　Yan Haiping:In a certain sense, humanistic literature is a modern practical process of human wisdom, which melts the life experience that is unrepeatable from generation to generation into value knowledge that can be used for reference and reconstruction from generation to generation, and supports, broadens and enhances the connotation and quality of life.

　　At the same time, the proposal of cross-cultural academic and educational theory stems from the internal needs of each of us how to settle down in today’s world. The correlation and cognitive integration of cross-language families and cross-cultural civilizations have been practiced, experienced and called by generations of scholars in China and the world since modern times. Its productive power is particularly prominent in the period of historical change. Social individuals and groups born in different language families and cultural civilizations have transcended the limitations of established habits, inspired each other and updated each other in the consciousness of differences, forming an indispensable life experience and an imaginative time and space full of kinetic energy in modern times; For the development of cross-cultural humanities and humanities education, it provides a profound resource for knowledge innovation. I quite agree that this kind of knowledge production needs the basic support of production mechanism and a moderate fit with the social environment, which is possible and sustainable.

　　Human culture has been learning from each other and innovating.

　　Martin Puchner:When trying to understand the cultural evolution on a global scale for thousands of years, I was shocked by two things. The first thing is that cultures have been learning from each other from the beginning. For example, China borrowed Buddhism from India, while Japan borrowed Buddhism from China, and Europe borrowed Christianity from the Middle East. Sometimes, the borrowing of these series includes strange gaps and circuitous ways. For example, ancient Greek philosophy was forgotten in Europe, but it was preserved in Baghdad before being re-imported into Europe. It is also interesting that Rome decided to translate the whole Greek literary classics into Latin for no reason, and turned Greek into its ancestors, even though the Romans had no connection with Greece. Therefore, this is a confusing picture. Sometimes, cultural imports are imposed on conquered countries. But more often, these imports and exports do not follow clear boundaries of power. More often, the borrowing of culture is not a sign of the weak, but a sign of the strong.

　　Another impressive thing is that in each case, cultural borrowing is part of an incredible creative adaptation process, leading to a striking new cultural form. When Rome borrowed Greek canon, it created something completely new. Learning from something seems to release creative energy.

　　On November 10th, a Rwandan student tried on China’s clothes. On the same day, the activity of "China Culture Entering the Campus" was held in the School of Education of Rwandan University. Xinhua news agency

　　These two points lead me to the conclusion that reducing cultural exchanges will mean reducing all the factors that make culture flourish. At the same time, more exchanges and mutual learning may bring about various creative absorption and adaptation processes, which in turn will lead to the formation of a specific integrated new culture. If so, I think it’s good; Otherwise, the world of life will become monotonous and boring.

　　Laurent de Boliai:As a species in the sense of zoology, Homo sapiens also depends on countless other biological species and different beings, and we really depend on everything. Of course, this does not mean global convergence and standardization. On the contrary, recognizing that human beings are connected with other diverse worlds of time and space will lead to a series of meaning extensions. On the one hand, this means a firmer view that every living thing and existence on earth is intrinsically related to us. On the other hand, it is a hope to maintain the rich heterogeneity in the world. Just because everything shares a planet, the difference between everything is the embodiment and vitality of coexistence. On the other hand, "cross-culture" transcends the potential and imagination of human egoism, that is, we not only continue our lives in a variety of different worlds, but also cross, meet, talk, cooperate, imagine and create among these worlds.

　　Yan Haiping:This is an era full of challenges and opportunities, which requires courage, conviction and imagination. In recent years, I have been sorting out the Chinese and English texts written in the past decades, and some books and letters about the cultural world in modern times accumulated and reread over the past decades. I keep classifying them by language, time, subject, proposition, etc., and at the same time, I open up another category, and put them on the combined bookshelf with a paragraph sentence, some life information and their explicit or implicit correlation. They cross all kinds of cognitive boundaries established by habits, and form a constellation group that is irreducible but inseparable from each other, calling, arguing and enlightening each other in the form of multiple polyphony. My duty is to listen to and record the endless human conversations.

　　(Translation: Ran Haoyan, Zhang Hanwen)

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　　On the evening of November 27th, at the closing ceremony of the 18th China Theatre Festival, 90-year-old famous Sichuan Opera playwright Xu Shu won the Lifetime Achievement Award (Drama) of the 2023 China Federation of Literary and Art Circles. This is the first female playwright in the history of Sichuan Opera, and she has also become another senior artist in Sichuan Opera after the famous playwright Wei Minglun.

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　　Feel the charm of Sichuan opera

　　Xu Shu was born in Chongqing in 1933. Her childhood was full of war, and Chongqing, as the rear area of the Anti-Japanese War at that time, accepted many compatriots from the enemy-occupied areas. Xu Zhuo remembers that most mainlanders near her home came from Hubei. "We call them ‘ Xiajiang people ’ In fact, it is from the enemy-occupied area. After they came, especially after the northerners came, Peking Opera flourished in Chongqing. "

　　The shadow of war and the difficulties of daily life have not obliterated people’s demand for spiritual and cultural life. At that time, there was a "wounded soldier management office" in the courtyard of Xu Zhuo’s house, where people had to appear in BLACKPINK and sing a Peking Opera almost every month. "They let us children go to be girls, Gonge, colorful girls and so on. I just got in touch with Beijing opera and then learned to sing it. So my earliest drama enlightenment was actually Peking Opera. " Xu Wei said.

　　In addition, because Xu Shu’s eldest brother loves drama, it also opens a door to the world of drama for Xu Shu as a child. In junior and senior high school, Xu Shu watched a lot of dramas and became a famous "little actor" in the school.

　　Before he graduated from high school, his family declined because of his father’s death, and his eldest brother’s drama club burned a lot of money. In order to ensure his younger brother graduated from junior high school, Xu Shu ended his studies ahead of schedule, but he never gave up studying. For half a year, she spent all her time in a friend’s study — — This friend’s brother has a rich collection of books, so Xu Shu has read almost all the books in that room: from Lu Xun and Ba Jin to Dumas and Tolstoy, he has been involved in all ages, at home and abroad.

　　She especially likes Lu Xun.

　　After spending half a "Gap Year" reading crazily, Xu Zhuo joined the army and became a member of the Art Troupe, and went to the front line of the War to Resist US Aggression and Aid Korea to cheer for the soldiers and perform various "rap" — — "I learned to sing Henan pendant, Beijing Dan Xian, Jingyun Drum, Shandong Express Book, Anhui Fengyang Flower Drum, etc. I couldn’t perform drama on the battlefield, so I performed some opera sketches."

　　It never occurred to her that the first time she came into contact with Sichuan Opera and was captured by its charm, it was actually on the battlefield. In a condolence performance, there is the Jade Crab by Liu Jinlong, a famous Sichuan opera, and Qiu Jiang, a high-pitched opera by a famous young Dan.

　　"Remember it was night, Jing Yan was singing, and the enemy plane came. Suddenly, the red and black curtains and door curtains were tightened at the performance site. " Xu Shu recalled, "I had been chatting with others under the stage and didn’t pay attention to go to the opera, but when the enemy plane came, everyone was holding their breath, and I suddenly heard the singing of Jing Yan. For an instant, it seemed like the sound of nature poured into my ears, which was wonderful and beautiful, and completely conquered me."

　　In 1954, after changing jobs from the army, Xu Zhuo was admitted to the journalism department of Peking University. At that time, the Culture Department of Peking University Student Union established a local opera club. "When they saw in the file that I was a member of the art troupe, they called me to be the president of the local opera society, and I acted with my classmates."

　　At that time, Peking University Student Union had a special Peking Opera Club, so Xu Shu’s local opera club did not perform Peking Opera, but mostly performed Pingju Opera, Yue Opera, Sichuan Opera, Huangmei Opera, Hunan Huagu Opera and Errenzhuan. These comprehensive performance experiences made Xu Shu’s opera skills more solid. Outstanding performance, she was also like a "corner" of Peking University. Many people knew her, and even the guards greeted her warmly when they entered and left the school gate: "Come back!" "Going to town to play?"

　　She and her husband, Zhang Yujun, also met in a local opera club. Because the two often play together, and most of them are husband and wife roles, one after another, the two young people gradually become attached to each other for life because of the play.

　　Compared with the story of their acquaintance and love, the day they got married was more dramatic — — In 1956, Xu Shu and Zhang Yujun set a wedding date and invited some old comrades to celebrate. Unexpectedly, the day coincided with the Beijing Cultural Performance, and the "Liu Hai Chopping firewood" performed by the two people also happened to be on that day.

　　Several comrades who came to congratulate her waited at home, but Xu Zhuo and Zhang Yujun acted on the stage, still playing husband and wife. "Because there is also a scene of paying homage to the church in the drama" Liu Hai Chops firewood ",we first became married on the stage and then went home to get married. My fate with the drama is so deep." Xu Wei said.

　　Why can’t my Yanyan resist?

　　After entering Peking University, Xu Shu came into contact with systematic literature courses, including the development history of zaju and Yuanqu in Yuan Dynasty. The drama of Guan Hanqing, the founder of Yuan Dynasty zaju, is naturally the content of her in-depth study. For this ancient playwright who lived more than 700 years ago, his social values are certainly different from those of modern times, especially in the status and ideology of women.

　　Xu Zhuo’s "opinion" is particularly great about Guan Hanqing’s famous drama "Tune the Wind and Moon". Yan Yan, the heroine in the original play, is a handmaid of a large family. She is clever and strong-minded, and is favored by her host family. One day, Hanazono Sakura, a relative of the master, came to visit, and Yan Yan, the old lady, went to serve. A handsome young Hanazono Sakura household tricked Yan Yan into being sincere, but then abandoned her and married Yingying, a noble lady.

　　Yan Yan, who was extremely indignant, made a big wedding reception on the day when Hanazono Sakura households got married, and publicly pointed out what Hanazono Sakura households had done to themselves. Finally, she "won" — — You can marry Hanazono Sakura as a concubine.

　　In Guan Hanqing’s original script, Yan Yan was very satisfied with the ending, because her identity was defined as being a little lady. "I have to dance with my husband in one place, and Yan Yan is full of peanuts." Therefore, many drama critics think that this is a comedy, and Yan Yan dares to fight for her rights and interests, and has worked hard enough.

　　However, Xu Zhuo was very angry after reading it: "I studied Balzac, Lu Xun and Ba Jin since I was a child. How can I accept this so-called ‘ Success ’ ？” She rewrote the story and let Yan Yan choose to fight in the most extreme way — — Expose the hero’s fickleness and disloyalty, hang him on the wedding bed of the ungrateful man and Yingying, and curse them with their own lives for "white murder and bad luck".

　　Melinda Gates once said: "If a girl’s life is arranged, then this arrangement will be beneficial to everyone except herself." In Xu Zhuo’s Yan Yan, as long as Yan Yan obeys the arrangement, the Yingying couple and the old lady are kind to her, and once Yan Yan doesn’t get what she wants and fights step by step, the three of them work together to suppress and persecute her.

　　"Cao Xueqin’s mandarin ducks can commit suicide by hanging themselves. Why can’t my swallow resist?" Xu Zhuo let Yan Yan resist to the end in her story.

　　In 1961, Xu Shu was transferred to Chengdu Sichuan Theatre and became a professional screenwriter of Sichuan Opera. On May 13th, 1963, Sichuan Theatre in Chengdu performed Yan Yan in Shanghai, and Ba Jin also watched it and praised it. What impressed Xu Zhuo deeply was that she knew that Ba Jin usually said "not bad" when he praised people, but that time he praised Yan Yan as "very good".

　　Yan Yan was an instant hit and its performances in various places were a great success. "Some people saw the class struggle, some people saw the traditional morality, some people saw the liberation of personality, human dignity and so on. This ambiguity of Yan Yan was rare in the opera repertoire at that time." Xu Shu later concluded that the innovation of this play was mainly based on the drama she was familiar with.

　　It’s not an old Sichuan opera, but it must be a Sichuan opera

　　This comprehensive creative technique has become a distinctive feature of Xu Zhuo’s Sichuan opera creation. In addition to Yan Yan, Biography of Scholar and Wang Xifeng are also representative plays of her early works. "At that time, my requirements for myself were: independent thinking, unique conception, unique approach and uniqueness. But at that time, I just started from my own aesthetic needs, and I was not satisfied with the relatively simple and outdated state of the opera. I was eager to transform and enrich it, and wanted to make the opera more in line with the aesthetic taste of modern and contemporary people. "

　　In the period of "exploratory drama" in 1980s, Xu Shu began to change from spontaneity to self-consciousness. She published many articles on drama, reflecting and summarizing not only the past of drama, but also the future of drama.

　　When this kind of exploration was put into practice in his own works, Tian Jie and Zhuang Zhou, Dream in the Red Chamber and Craving for the Sea appeared. Xu Zhuo pursues the perfect combination of inheriting tradition and developing tradition, the perfect combination of classical beauty and modern beauty, and the perfect combination of ideological content and artistic form.

　　In addition to learning from drama, she also actively absorbs nutrition from film art — — Montage, the fading in and out of the picture, the use of close-ups and lighting technology. "I can use lighting to make the transition of time and space on the stage as smooth as flowing water, which can save a lot of unnecessary scenes and actions and increase the capacity of the opera." At the same time, Xu Zhuo also unceremoniously "took" and used the techniques that are connected with traditional Chinese opera, such as virtuality, symbolism, symbolism, expressiveness, absurdity and stream of consciousness.

　　At the same time, she always demands that her Sichuan Opera cannot be divorced from its original essence. "It’s not an old Sichuan opera, but it must be a Sichuan opera!" Chen Yan, a former party secretary of the Chinese Drama Association, once praised Xu Shu, saying that her plays are "almost everywhere, creative and novel, but everywhere, the freehand brushwork of the drama is brought into full play and the aesthetic characteristics of the essence of the drama are adhered to. At the same time, Xu Zhuo’s works have great humanistic care and life compassion. Respecting life, respecting the weak and even the losers is a truly modern consciousness. "

　　Perhaps many people don’t know that in addition to rich and wonderful Sichuan opera creation, Xu Zhuo has also written two long historical novels. According to her introduction, the Xinhai Tide of Chengdu was written after she wrote the drama Xinhai Tide. "After this novel came out, I wanted to write it again when I saw that everyone liked it." Su Dongpo and His Great Song Dynasty is actually a continuation of "drama". "I have created 20 episodes of TV series" Su Dongpo ",which is also wanting more, and then I wrote a novel. I didn’t expect the novel to come out, and everyone liked it. You see, I can’t write a novel without a play. "

　　Although the remuneration for writing TV plays is much higher than that for writing Sichuan plays, Xu Zhuo still gave up the former. "TV dramas are too commercialized, the weight of art is squeezed out a lot, and the author has no right to speak." She said that if it is only for money, it will lose the value of self. I have been engaged in drama since I was seven or eight years old, and I have been engaged in it all my life. "Drama has become my second life, and it is a pleasure for me to engage in drama no matter how hard it is!"

　　For her career, Xu Shu feels full enough, and the only and biggest regret is that although her plays have won many famous roles in Sichuan Opera, she has never found an apprentice who can take over the mantle of screenwriter. To this end, she specially wrote "Records of Sorrow and Joy on the Stage — — Xu Shu talks about the book "Screenplay", "I hope that my 70 years of experience and lessons will not be wasted, and I can give some help to later drama workers, especially drama workers."

　　In October this year, the Sichuan Opera "Flowers Drift and Water Drift", which was written and directed by her, appeared at the Chang ‘an Grand Theatre in Beijing. This is a new story of Qingyun Palace, a traditional Sichuan opera. Xu Shu recalled that more than 60 years ago, after watching traditional dramas such as Celebrating the Palace, Going to a Different Palace, and Three Bottles of Vinegar in Qingyun Palace, she was very disgusted. She never saw women bow their heads voluntarily under the weight of male power. Even if their feelings were trampled and their dignity was trampled, they still only cared about and dared to attack other women.

　　More than 60 years ago, it was the time when the young Xu Zhuo began to adapt Yan Yan. From the early stage to the late stage of her creative career, the women in Xu Shu’s works are always brave, beautiful, full of vitality and never give in.

On August 29th, it was reported that a new vivo machine with the model of "V2415A" passed the domestic 3C certification and supported 90W fast charging. According to blogger @ Digital Chat Station, the machine was called vivo X200.

The IT House found that the new V2415A had obtained the network access license for telecommunication equipment on August 26th, and passed the radio approval on August 20th. At this point, the three certificates of this new machine are complete, and it is very close to the market.

Previous reports showed that the vivo X200 series/OPPO Find X8 series mobile phones are currently scheduled for October, and earlier than Xiaomi 15 series mobile phones.Vivo X200 series mobile phones are expected to be equipped with Tianji 9400 processor.And OPPO Find X8 series mobile phones (excluding Ultra) have been planned for production, and are also equipped with Tianji 9400 processor.

For reference,Vivo X100 Standard Edition Launches Tianji 9300 Processor, equipped with a 6.78-inch 2800×1260 resolution micro-curved screen, equipped with an equivalent 5000mAh battery, and equipped with a 50MP main camera.

1905 movie network news 　Produced by Le Yiling and Liu Weiqiang, directed by Wen Weihong, starring Zhang Jiahui, Koo Tianle, Wu Zhenyu, and Jiang Pei Yao, co-starring Ma Dezhong, Zhang Yichi, and Liu Yuning. Huang Zhizhong’s special police and bandit action blockbuster is about to land in national theaters at the Qixi Festival on August 7, and the national pre-sale of the film has officially opened on July 26. As the release time approaches, the film released the ultimate version of the poster today. Broken tiles and ruins are looming in the smoke of gunpowder. All the actors may fight fiercely with guns, or stand ready, and the camp is clear. Gu Tianle, Zhang Jiahui, and Wu Zhenyu fought side by side in the iron triangle, and seemed to have gotten out of the mystery of who is the undercover agent, and certified the core of the film that director Wen Weihong has always emphasized – "brotherhood".

The Iron Triangle reunites to defeat the enemy side by side 　Walk through the mystery of good and evil, write brotherhood

The final poster released by "Apostle Walker 2" this time reproduces the momentum of the blockbuster. In the battlefield filled with gunpowder, helicopters hover in the air, and various European and Central Asian buildings are destroyed by blasting. This is also the scene of the fierce battle between Myanmar and Spain that will be presented in the film. Zhang Jiahui, Koo Tianle, and Wu Zhenyu are side by side in the iron triangle to fight the enemy, and the mystery of good and evil seems to have been solved. Where will the brotherhood reunion make them go?

Louis Koo

A group of stills released at the same time also reproduced the classic temperament of the IP of "Apostle Walker": stylish. Zhang Jiahui is dressed in white and holding a gun against the enemy, with bullets flying behind him. Koo Tianle is thoughtful in a black jacket, and Wu Zhenyu’s curly-haired suit is quite a Japanese detective. Jiang Peiyao is covered in blood and tears, as if there are many stories. Ma Dezhong frowned and watched the development of the situation. Huang Zhizhong was in a splendid clubhouse, and he looked like a boss. Zhang Yichi, who was covered in blood, looked like a ruthless character, while Liu Yuning, a technical nerd, was in Myanmar at night and was receiving remote instructions. Please wait and see what fate they each bear in the movie.

Zhang Jiahui

The new story of the original team interprets "Operation Spy Shadow" 　Production upgrade, China, Hong Kong, Myanmar, Spain "doing things"

"Apostle Walker 2: Spy Action" retains the three classic elements of the previous work: police and bandits, undercover, brotherhood, and the gold medal lineup of directors and starring stars. But "Apostle 2" opens the story with a new character relationship. The battlefield of brothers has also changed from Brazil in the previous work to Hong Kong, Myanmar, and Spain in this time. The iron triangle of Koo Tianle, Cheung Ka-hui, and Wu Zhenyu will perform a new spy action with a new identity. The film is unlocked by a hacker as a fuse, and the police community has fallen into an unprecedented panic. In order to protect the evidence, it is difficult to distinguish the enemy and friends in the police community, and the truth and falsehood are unpredictable. The slogan of the film, Reunion, seems to imply that no matter where they are in different camps, the brotherhood will always be inseparable.

"Apostle Walker 2: Operation Spy Shadow" will be released on August 7, and the national pre-sale has officially opened.

　　Cctv news(Reporter Tian Hong): A thousand-year-old town with clear water. With becoming the permanent host of world internet conference in recent years, Wuzhen, located in Jiaxing, Zhejiang Province, has taken advantage of this "east wind" to carry out a series of explorations in the fields of digitalization and informatization of urban governance, focusing on the intelligent improvement of social governance in towns and realizing the construction of smart towns.

　　"You don’t have to spend money to buy goods in this self-service machine, as long as you have ‘ Civilization coin ’ Just do it. " The reporter saw that a Wuzhen resident was paying 45 "civilized coins" through the "Wuzhen Butler" applet and bought a bottle of mineral water. After becoming "Wuzhen Butler", he has accumulated 3,000 "civilized coins", which can be exchanged for biscuits, toothpaste, glutinous rice flour and so on.

　　The "Wuzhen Butler Linkage Center" was first established in 2017. It is a comprehensive command platform for social governance integrating online and offline functions. By integrating the information platforms of various departments online, the "Wuzhen Butler Linkage Team" was established offline, realizing the "one network linkage" of social governance.

　　In order to realize the leap from "having" to "excellent" in the construction of smart towns, in April, 2020, Wuzhen launched the 3.0 iterative upgrade plan for the construction of smart towns, and formulated the "Planning Plan for the Construction of New Smart Towns in Wuzhen (Smiling Wuzhen)". The exclusive applet of "Wuzhen Butler" was built for the first phase of the project, and a "civilized coin" integral system was established.

　　Environmental sanitation cleaning, illegal parking, fire … … Information related to urban governance issues can be submitted by Wuzhen Butler to Wuzhen Butler Linkage Center at the first time through small programs, and the center will manually screen the events. Relevant problem information can be dispatched to government departments and grid workers in the region for processing, or environmental sanitation cleaning and other events that are convenient for the masses to participate in the disposal can be opened to the public, and the masses will "grab the bill" to complete the problem disposal and accumulate "civilized coins".

　　In addition to participating in information submission and problem solving, you can also participate in official volunteer activities, and "Wuzhen Butler" can get certain points of "civilized currency". Off-line, "Civilization Coin" has its own self-service machine, which is used to exchange various commodities, and 10 "Civilization Coin" is equal to 1 yuan; Online, there is a "civilized coin" mall, and "Wuzhen Butler" can log in to the mall to shop at any time.

　　Jiang Wei, secretary of the Party Committee of Wuzhen Town, said, "In Wuzhen, every ordinary Wuzhen person and every visiting tourist can become Wuzhen &lsquo through registration; Big housekeeper ’ . The key to urban social governance lies in people, and we should mobilize more social groups to participate. Now ‘ Wuzhen housekeeper ’ There are 3,700 people. "

　　The establishment of the information platform of "Wuzhen Butler" and the practical exploration of the integral system of "civilized currency" not only mobilized the masses, village communities, social organizations and enterprises to participate in the grassroots society, but also mobilized the enthusiasm of the housekeeper to manage things and built a new pattern of social governance of "multiple participation and collaborative governance".