Zhou Ren and his wife secretly calculated, pretending that his wife was his sister-in-law, offering it to Yan nian, and fled with her sister-in-law overnight. When his wife arrived at Yan's house, she couldn't kill Yan's thief and committed suicide. After Du Fu's literature was avenged, he saw the anger of Zhou people. Du's wife stood up and told the truth, and the truth came out.
Extended data:
The spiritual pillar of this play is: the chivalrous spirit advocated by China traditional literati.
"Xia" is the most distinctive part of China culture, and it is also one of the motifs of traditional opera spirit, which is particularly prominent in legendary scripts and Yuan Zaju. Shaanxi Opera directly inherited this ideological tradition of advocating "chivalry", which is fully reflected in material selection and plot layout.
The "chivalrous spirit" shown in "Zhou Ren Going Back to the House" has gradually added more interpretations of "humanistic care" in the interpretation of generations of actors from tradition to modernity.
It can be seen from the recording of Liu Yu's "Too late to regret" that the Zhou people he created are simple in singing, winning momentum and full of charm. He is an awe-inspiring and self-sacrificing man. From this, we can see the characteristics of the older generation in grasping the temperament of characters. Zhou people are "just" and "chivalrous"!
Just like Tang Li Deyu's Hero Biography: "Husband and chivalry, even if they make a promise, they should take the solar terms as the standard, and the righteousness is not chivalrous, and chivalry is unjust."
After the formation of the style of his play "Zhou Ren Hui Wu", Ren Zhezhong especially played up the sadness of Zhou Ren in the predicament and isolation. It can be said that "Zhou Ren's vicissitudes of life are heartbreaking, and he has made a high-pitched, intense and lingering" Family Chamber ". Ren Zhezhong's interpretation of "chivalrous spirit" tends to show "righteousness".
Li Aiqin's Zhou Ren pays more attention to "emotion". In her famous passage Mourning the Tomb, Li Aiqin shortened the distance between the actor and the role (China's drama theory emphasizes "alienation" and the relationship between the actor and the role during the performance).
She tried her best to stick to life-oriented singing, crying like a complaint, and her emotional place was full of sighs on the cardiopulmonary stage. The reason why such a live effect touched people's hearts also reflected a change in the psychological needs of the audience when they appreciated Zhou Ren's return to the house.
People pay more attention to the pity for the tragic feelings of Zhou Ren and his wife from the praise of lofty morality.
At present, many people take the road of "Li Aiqin is more important than' emotion'". Looking at Zhou's words, we can almost enlarge Zhou Ren's inner humanistic care to the extreme.
Baidu Encyclopedia-Zhou Ren Return to Government