Original link: https://onojyun.com/2022/11/02/7686/
△ 306｜If life is a drama, obviously only 3% of the people are screenwriters and actors I
Yesterday’s article had a comment from a blogger, and I did think that the method I used to “desensitize” anxiety disorders was too rigid-but this is what I find fun, it seems that I have been a personality who likes to destroy and rebuild since I was a child. Although I have high sensitivity and can recognize the emotional changes of different people, I like to use their hypocrisy and concealment to create various plots for them to expose hypocrisy.
The greatest joy of this kind of destruction and reconstruction plot is to see the self-defense mechanisms of people after their hypocrisy has been uncovered. It is difficult for anyone to “face it calmly” in a true sense. It was also after a long time in my adult life that I accepted the title of “eight woman”, because basically some seemingly stable internal relationships suddenly collapsed, which was all instigated by me. So I’m also doubting myself, do I really need to imagine every relationship as some kind of “palace fighting” plot?
Obviously, the real palace fights, especially those in the workplace, are much more exciting than what is written in the script, which is where the fun lies.
In every real “gong fighting drama”, I disassemble people into four types of people, so that I can classify and “manage” them. I am a standard “screenwriter” who translates and translates the crap out of reality. Disassemble it into “cause and effect” to predict how far people’s hypocrisy can play with those hypocritical emotions. For example, how many “chat groups” do you think the 6 people in the girls’ dormitory will establish in total?
When the script is dismantled, a group of “actors” who have the ability to translate the script into their own body language are needed to re-interpret the script. Simply put, they are the ones who understand the methodology, so they can interpret the character in the script as a character with their own personal symbols. I have dealt with too many family trivialities and infighting in the girls’ dormitory, and later I was fortunate enough to make trouble in the workplace. Generally speaking, I will give the most “effective” suggestions, but these suggestions have a very strong “script conflict”, and it is possible that the parties will have a “bad ending” after performing according to the script. Most don’t take this approach because they clearly know they can’t afford the worst. Few people are real “actors”, they can interpret the script to their own understanding, perhaps that is the worst ending, but they can always find a compromise plot, or tear the ending more thoroughly.
I worked with “actors” in college, and the political struggles and palace fights at Northern University were even more exaggerated. To survive among the various rabble of the Rattan Society, everyone has to look their best. In order to survive, standing in line is inevitable, and how to survive without standing in line has become a research topic between us. We dismantled An Lushan, the most exquisite person in the Tang Dynasty. I was in charge of the dismantling and he was in charge of the performance. The most accurate and vague summary of An Lushan by later generations is “talking to people and talking to ghosts”. This conclusion is useless for practical operations, because everyone knows this sentence, but how does this sentence mean? To do it step by step, this requires the “screenwriter” to dismantle it, and the “actor” cannot interpret this sentence beyond his authority.
To give a simple example, An Lushan was loved by Emperor Xuanzong of Tang Dynasty because of his eloquence. From then on, whenever An Lushan saw Tang Xuanzong and Yang Guifei present together, he would “break the rules” and salute Yang Guifei first. Tang Xuanzong was a little upset and asked why, An Lushan explained that “Fan people first mother and then father”, which made Tang Xuanzong like this cute little fat man even more. Then he delegated An Lushan’s right to pass through the forbidden palace. As for the rumor that An Lushan actually got together with Concubine Yang Guifei, everyone has a bottom line.
Next is the work of the “screenwriter”, dismantling this story into another script that is more methodological than “talking about people, talking about ghosts” – wagging your tail in front of power is the only way to gain privilege and get close to power and bite back Methods. It’s still very abstract, but the “actors” understand the meaning of this script, because they will change the script to their own characters in different scenes in the actual performance. For example, when people go through another lockdown, they choose to “obey” managers, making them think they are docile dogs, but they don’t know that their loopholes are being bitten by dogs all the time, until they show internal refusal or even Disintegration – maybe some people think it has no “methodology”, that means you are another of the four types of people in this world: “audience”.
Actors need audiences, but audiences have completely different understandings of the same play. The “audience” is the only one who has the qualification to choose the performance . No matter how hard the “actors” work, they can ignore each other completely because they don’t like it. “Audiences” don’t need to understand what’s going on in the plot, what they need is to obtain some kind of emotional value that makes them feel good or let them understand something like “people talk to people, talk to ghosts” Conclusion, but how to use this common conclusion in their own lives, they can’t find a way. The audience’s preferences force “actors” and “screenwriters” to learn to “sacrifice” themselves. The clearer the audience’s orientation, the more “not themselves” they are.
For example, the “group of aunts” mentioned a few days ago, among the aunts who need love at any time, there are also middle-aged men who play the role of “sweet seams”, that is, the two aunts hold each other in the process of teasing , the third person in the group cross talk is needed to fill in the gap to make the plot (such as the big drama of blind date and love) more full. Most of the men I have observed living among the rabble of women are “actors”, and their audience is this group of aunts, so what they play is not decided by the “screenwriter”, but by the “audience” aunts. It’s a pity that “screenwriters” are not allowed among the aunt’s rabble, because they don’t want their hypocrisy to be thoroughly dismantled.
Finally, there is a group of people to make the four types of people form a closed loop. The “screenwriter” writes the script, the “actor” understands the script and shows it to the “audience”, and the “audience” confuses the plot with reality. With Drama’s life, they themselves have performed more bullshit plots. It’s called “action drama”. If there is no realistic “action drama”, where will the inspiration for the “screenwriter” come from?
The plot of “action drama” can even be more dramatic than the content of the performance. After all, the contradiction between people is more complicated than we understand, and it is not an application of the formula of opera. If we want to understand the “why and how” of everyone’s life, the “audience” will only think “that dick is outrageous, fuck me”, and the “actor” will have a headache, “how the fuck do you play a drama better than me” , the “screenwriter” is probably the most excited, and will ask “what other surprises do you have that I don’t know”, and “behavior drama” itself has no formula or rules, they are creating plots all the time, he needs to do a new round The “screenwriter” issues the script, and the “actor” interprets the plot according to the script. Only after the “audience” understands or doesn’t understand can their Drama be translated.
This part, and why “screenwriters” and “actors” only account for 3%, we’ll talk about it tomorrow.
This article is reproduced from: https://onojyun.com/2022/11/02/7686/
This site is for inclusion only, and the copyright belongs to the original author.