The short play market is “divorce”. A joint production by a crowd and a chain of stars, a group of technology responsible for the production of the script, the stable studio for the production, and Wang Xiaobai and Liu Xiaoxiu’s urban emotional short, “Favorite to encounter a divorce ” , tells the story of Tang Young, the leading woman after a divorce, married a grown-up rich man, married him, avenged his life with his former husband, re-opened his life, and quickly ascended to the top of the red fruit platform and became a recent phenomenon.
The short play has created an image of an uncle who looks like a typical “holy president falls in love with a divorced me”, but has integrated the characteristics of traditional male-based work in terms of man-made, narrative-oriented, ecstasy, and, under the female-frequency surface, there is also a “honorable me to marry” male-based narrative, with some relative realistic discussions of the relationship. The pattern of a mix of men and women and a mixture of realism and pleasure has created a newer sense of content for the short play, as well as a new thought for the fast-interpelling short play market.
Uncle, you’re new
Urban Emotional shorts never lack all kinds of executives, and are based on a rich and handsome combination of pompous, black, cat, canine, iceberg, sun, etc., to satisfy the newer tastes of the audience.
The CEOs in the short-runs are often not the foundation money. At the beginning of the year, Concubine’s play was a powerful black and dark young man, but in front of her, she was called to a dog with a heart full of demands. What was so clever and wise about Sven’s dumb president? In addition to human innovation, the high degree of compatibility of the actor’s own qualities and acting with his role is also key to a circle in which Koo’s salinism, and the wise Sven elite are all mutually reinforcing to their role.
The male master of “By the time of divorce ” has also acquired something new on the basis of the classic grandeur and is highly compatible with the character of the actor. The man is a grown-up, sturdy and experienced uncle, and the man’s uncle’s image comes first from the uncle’s taste of the actor, Liu Xiaoxhu, who was born in 1998 and is 27 years old but does not seem to be a pick-up from the outside, but it is a good thing that there is such a strong culture and a stable atmosphere that he has long since moved into the Zhong Guo circle.
This feeling is further amplified by the elaborate design of the group. It is well known to produce short dramas, with a variety of details, to create an atmosphere for the vice-president of the school. The high-profile but simplistic style of costumes, low-profile and non-fatal, as well as demeaning demeanour, and the fact that the director captures his micro-expressions and changes in his eyes through a large number of feature shots, together with the age-sensitive harmonica and the bgm of the classic old song, have further highlighted the male style of the master.
Liu Xiaoxiu jumped to Top4 after Chen Tsang, Li Koei and Wang Xiaobai after the show and saw the present time ‘ s ingenuity.
It’s gotta be fun and real.
In comparison to younger CEOs who are crazy and desperate, uncles are more mature in their emotions. In the face of the old white moon of a married woman, the top man, Jiang Yi Yun, who did not perform the classic short play of forced love and so forth, was taken away from her life after she was removed from her house and re-emerged after she had divorced from her husband.
There is a line in the play, which is an emotional “teaching” of Tang Wing caught in an unfortunate marriage: “A man’s gift to his wife should be to give her a stepping stone, to give her a social status, to give her a personal resource, to put her on her back, and not to allow her to sacrifice her preferences to match his needs”.
The linephrase should be the cyber-emotional gold sentence that has prevailed since then: “Men’s love for women at the highest level is to teach her social survival skills, to give her resources and help”. Such emotional sentences, while not fully in line with current feminist thinking, do fit well with many viewers ‘ imaginations of utilitarian love and marriage. Between being entrusted with protective petting and being completely free from men ‘ s killing, both to meet the needs of women ‘ s independent development and to truly benefit from marriage, which is part of the social sentiment of the Executive Director.
When Don-Yung asked about emotions, the response was: “I like, but not love.” People will love a lot of people in their lives. Love is too heavy a word. The story between us is not as big as love. Like you are real, but not true.”
Whether it be the teachings of Seong-yun’s idea of marriage or his frank “like but not love” to the hostess, it is clear that the short play is more realistic for the man and that there is a relative discussion of marriage and love. Of course, it is also relatively realistic that he still has all kinds of male radiant rings and that her love is still romantic, leaving space for the audience to dream. This is an evolving new role variant that combines dream emotional demands and realism in order to meet the increasingly picky taste and deeper psychological needs of the audience.
Both men and women
On the face of “By luck with a divorce ” , a typical female narrative: Master Don Wing suffered triple blows from the betrayal of her husband, the miscarriage of a child and the death of her parents, and then met with a strong and deep-hearted man, with revenge and success, with a successful career and love, with divorce as a very charged and resonant social issue, focusing on the emotional trauma of the woman ‘ s lord, self-doubt to a process of healthy and respected growth, and on the fantasies of the female audience to resonate and be valued, especially the fact that the actress is the king of the great lady, who is a king and a billionaire, making the story ‘ s female identity stronger.
But there’s a lot of men’s frequency in the story, and it’s open from the man’s point of view. It’s a story of “I don’t want children to be poor, and after I’m famous, I’ve got revenge and married to the white moon.” The man in the show is not the rich generation, which is common in the female short play, but the rich generation who dropped out of school to start a family for nothing, and has set up a storyline of revenge between the male and female masters. The former man of the female chief revenge is not only an enemy of the man, but also an enemy who indirectly killed the male master. Revenge is therefore not only the emotion of the hostess, but also his career and battle.
The integration of men ‘ s frequency elements, on the one hand, doubles the story, the female audience celebrates the revenge and growth of the woman, and the male audience is satisfied with the man ‘ s work and ultimately the beauty of the man, helping to break the circle. On the other hand, the fact that the male master has an independent motivation and career pattern, rather than merely being an instrument or guardian of the female master, has made the male master more dominant, thus ridding him of the flat image of “the head of love” and becoming a complex individual with an independent career, a traumatic past and a deep-seated mind, more attractive and deeper.
This bold search for the integration of men and women requires the absence of a short list of actors, scripts and productions in order to truly achieve 1+1>2. At present, the competition for the short play market has reached the pre-preliminary period of the subject-matter dividend and has entered the era of finely refined and refined purification. The next stop of the short play will be a more qualitative and strung-up emotional expression, with more, perhaps innovative, mini-draughts in the future.