冷莫凡

Accidentally saw the performance of "Meng Lijun Sequel" by Zhangzhou Longhai Fangming Gezi Opera Troupe, it should be almost the full video recording, the overall structure is quite mature, should be created through editing, but only credited the director as one of the actors Huang Jiyang, the playwright was not listed, so it cannot be confirmed.
Personally, I think if further adjustments are made in the conception and detail handling, this will be a very outstanding text.
I think this script has refined "Recreating Heaven" quite accurately, it is a very successful adaptation, even to the extent that Hou Zhi's creative intent and the subconscious contradictions unintentionally embodied in the narrative are conveyed very focused in this adaptation.
I watched it quite excitedly, compact and eye-catching, fully extracting the essential elements of "Recreating Heaven" for systematic reorganization, in a limited performance time, forming a relatively concise and powerful condensed version.
Compared to "Recreating Heaven," this "Meng Lijun Sequel" Huang Fu Feilong is more ruthless in his actions, more decisive in his thoughts, truly a "villain," but also a full-fledged protagonist - the story revolves entirely around her, the perspective almost solely focused on her. The mode of negative characters as the core axis of the opera is relatively rare, I think this makes the existence of this play more interesting. While not deviating from the teachings of loyalty and filial piety, as Hou Zhi's original purpose was to advise the world; but due to the strengthening of character traits and the amplification of dramatic tension, the rebelliousness carefully concealed by Hou Zhi is revealed, making the image of this evil flower sculpted by Hou Zhi even more mature. Especially the extreme portrayal at the end is most striking: the Huang Fu Feilong in the play is unrepentant until death, only refusing to submit, angrily accusing his mother of killing her daughter for fame and hypocrisy, and then bravely kneeling to his mother in righteousness and duty, with a majestic posture heading to execution.
There is only one thing I really mind: the lyrics of this text do not fully rhyme, but are closer to the style of poetry, often with the third line not rhyming.
Apart from this issue, I think this script is flawless and worthy of in-depth analysis and comparative exploration, which is quite inspiring for script creation.