Historical drama is one of the types of drama divided according to the subject matter, which refers to the repertoire based on historical events and historical figures. In the creation of historical dramas, it is necessary to analyze and study a large number of historical materials, select events of typical significance that are set to be dramatic on the basis of conforming to historical truth, and appropriately use imagination and fiction to enrich and supplement historical dramas, constitute dramatic conflicts, and reproduce the social life of a certain historical period. In recent years, the creation of historical dramas has been very popular, including excellent works that have won word of mouth, and unsatisfactory works.
"Ask the Boundless" and "Kunpeng Hitting the Waves" are both historical dramas with the revolutionary process of young people as the main line, but the creative level of the two dramas is very different. "Asking the Boundless" mainly tells the story of *** from 1921 to 1927, and at the beginning it attracted the audience's vision with Dongting fishing songs and landscape paintings. And "Kunpeng Hitting the Waves" mainly tells the deeds of *** from 1918 to 1921, which can be said to be the prequel to "Ask the Boundless". However, after watching two episodes, one has abandoned the show, and the other has decided to chase it to the end. The gap is mainly reflected in the following aspects:
Casting. *** in "Asking the Boundless" is played by Wang Renjun, although the appearance is not particularly similar, but at least it is a "god statue". At a glance, the image of the great man comes out. And the *** in "Kunpeng Hitting the Waves" is played by Liu Chenglin, the image does not match, the writing is not imposing, and the words are too far from the chairman's words. Not only other important historical figures, such as Sun Yat-sen, Cai Hesen, Xiao Zisheng, etc., have also been better shaped and interpreted in "Ask the Boundless", but in "Kunpeng Hitting the Waves" it seems bland.
Plot. "Asking the Boundless" starts with the First National Congress of the Communist Party of China and ends with the Nanchang Uprising, focusing on the ideological transformation and revolutionary practice of ***, showing his important position and role in the Chinese revolution. In the play, there are not only the stormy meetings in front of Wang Xie Tang in the old days, but also the fireworks that fly into the homes of ordinary people, reflecting the people-centered creative stance. And "Kunpeng Hitting the Waves" lacks historical logic and coherence, the plot jumps, the relationship between the characters is chaotic, and it does not highlight the ideological growth and revolutionary contributions of ***, but depicts his personal life and emotional entanglements too much, weakening the theme and education of the historical drama.
Style. "Ask the Boundless" uses a foggy filter to create a historical atmosphere and immersion, making the audience feel as if they have returned to that era. The language in the play is also close to history, with both the elegance of the literati and the spoken language of the people, both revolutionary slogans, poetry and songs, both theoretical and emotional expression, reflecting the artistry and authenticity of historical dramas. And "Kunpeng Hitting the Waves" uses too bright colors, destroying the realism of history and making the audience feel like they are watching an idol drama. The language in the play is also not historical, with modern Internet terms and anachronistic stalks, incomprehensible lines, and inappropriate dubbing, which reflects the vulgarization and kitsch of historical dramas.
From the above comparison, it can be seen that the gap between "Ask the Boundless" and "Kunpeng Hitting the Waves" lies not only in the level of creation, but also in the seriousness of the creative attitude and the observance of the creative principles. The creation of historical dramas should be faithful to history, respect the characters, be responsible to the audience, and be beneficial to society. In the creation of historical dramas, we should deal with the relationship between big themes and small cuts, big characters and small characters, big events and small details, and make high-quality historical dramas that are both popular and popular by giving play to the role of "small" and "big".
In the creation of historical dramas, we should establish a grand view of history, set the correct direction of creation, observe reality in the historical context, and show the spirit of innovation and craftsmanship in specific creative practice. Only in this way can historical dramas truly become an important carrier for inheriting culture, promoting spirit, and educating the people, and contribute to the realization of the Chinese dream of the great rejuvenation of the Chinese nation.