《两世欢》:古典精神下的现代表达

时间:2020-03-02 15:00:54阅读:93032
爱情的纯粹与美好千百年来为诗人所歌咏,无惧时间和空间,从古至今历久弥坚。正在热播的古装爱情剧《两世欢》,追求描写真挚恒长的爱情和人对内心的坚守。更难能可贵的是,《两世欢》在承接传统爱情观念的同时,融入
  • 红楼梦
  • 古装 爱情
  • 杨洋 于小彤 蒋梦婕 林妙可 白冰 李沁 姚笛 马晓灿
《两世欢》:古典精神下的现代表达
《两世欢》:古典精神下的现代表达
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爱情的纯粹与美好千百年来为诗人所歌咏,无惧时间和空间,从古至今历久弥坚。正在热播的古装爱情剧《两世欢》,追求描写真挚恒长的爱情和人对内心的坚守。更难能可贵的是,《两世欢》在承接传统爱情观念的同时,融入了符合现代精神的爱情理念,达成了传统情怀与现代精神的融合交汇,实现了古典精神下的现代表达。

《两世欢》由青年演员于朦胧和陈钰琪领衔主演。整剧期冀依托深函暖意的爱情故事、带有现代审美的人物设计、多层次的情感表达,书写着带有梦幻色彩的曲折的爱情诗。

善良的公子景辞在年幼时救下了尚在襁褓中的无辜婴儿风眠晚。在成长中,两人青梅竹马,情愫暗生,只是碍于身份悬殊不便表达。为保护心爱之人,景辞忍痛让风眠晚失去记忆,与孪生妹妹原清离换了身份后继续生活,阴差阳错间成了一名捕快。随即,景辞化身县尉,陪伴在化名阿原的风眠晚身边,竭尽全力的保护着风眠婉,并帮助风眠婉连破大案。层层迷雾拨开后,两人意外发现了隐藏在背后更大的秘密以及各自的身世……

景辞对风眠晚的爱,从来都是发自真心,不掺杂任何功利的:少年时从刀下救下襁褓中的她,是景辞出于人之初的善良;当发现两人无法相守时,景辞不得以让风眠晚变换身份全新生活;再度重逢时,被迫戴以“假面”,哪怕备受误会,抛弃一切,依然选择默默守护。第一世缘分未尽,第二世再续前缘,哪怕没有回应,甚至不被理解,依然为爱守护,这本身就是一种无私之爱。这种爱,对主人公或者多少有些残酷,但这不但为景辞给予了更高层次的精神赋能,为再试图感染有些不再相信的人们,从内心唤回对这种无私之爱的信任和追求。

在昭王宫长大的风眠晚,是景辞身边的普通侍女。她爱习武、却不善女红,有小儿女的心思,却又有点粗心大意,虽然有景辞的关照,但性子终究受到压抑。当她转换身份成为捕快阿原后,“第一世”被压抑的本性也彻底获得了解放。在女子的柔美之中,更带有了几分男子豪气与爽朗,极像《红楼梦》中专爱打抱不平、快人快语,饮酒微醺便卧睡在芍药圃中的史湘云,无拘无束,随风而行。这样的性格特征,丰富了景辞和风眠晚之间的感情层次,如兄妹、如朋友、如武林同道,同时更赋予了她女性觉醒的意味,具有现代性的表达。

中国古典文学追求歌颂的忠贞无邪、一往情深的爱情,并试图将之作为永恒主题。《两世欢》在坚持这个表达的基础上,在现代条件下,在情感构建、文本结构的搭建和视听语言的技术设计上也推陈出新。

《两世欢》除了以爱情线索做为基础外,还杂糅了推理、悬疑等颇具大众性的类型化元素。在男女主角两人联手探案的悬疑中,交织着两人情感的逐步推进,不仅丰富了叙事层次感,增强了看剧观感,更通过这些强烈的外部线索,推动了两人情感发展的主干线索。视觉上,剧中运用了大量传统设计:府邸宅院中漫垂的珠帘,山雾中茂密青翠的竹林,精巧又不失质感的杯炉器皿。每一处视觉设计既希望复现广义的古典审美,又在细节上追求现代趣味。在音乐上,《终于》《云边》《知晚》等片中主题音乐大胆尝试将中国古风和西方管弦乐相融合,产生出独有的韵味。显然,这些都受到现代影视剧中“新古典”设计的巨大影响,并精心而为的实践。

《两世欢》是一部古装爱情剧,但不缺现代年轻人的爱情思考,通过传统与当代观念的融合创新,试图实现古典与现代的同向呼应,共舞前行。

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