作者： admin

　　On October 11th, the Emergency Management Department of Shaanxi Province issued a notice on its WeChat WeChat official account, saying that in recent days, there has been continuous precipitation in Shaanxi Province, and the situation of natural disasters is extremely severe. Especially during the National Day holiday, the command center of the Emergency Management Department of Shaanxi Province received 12 reports of natural disasters such as landslides, collapses and mudslides, resulting in 12 deaths and 2 injuries. The provincial party committee and government attach great importance to it, and demand to further strengthen the bottom line thinking, always put people’s life safety in the first place, carry forward the spirit of continuous fighting, make sure that the thinking is not loose, the strength is not reduced, and the requirements are not lowered, and implement detailed measures to ensure safety. In order to do a good job in the transfer of disaster prevention and avoidance personnel in the next step, the relevant matters are hereby notified as follows:

　　First, the implementation of the "two supremacy"

　　It is necessary to fully recognize the great threat of geological disasters caused by storms and floods to people’s lives and the important role of personnel transfer and avoidance in reducing casualties, resolutely take ensuring personnel’s lives and safety as the top priority, firmly establish the bottom line thinking, shoulder political responsibilities, resolutely overcome paralysis and lax thinking and fear of war, base on preventing floods, resisting floods, grabbing major risks and saving major disasters, further strengthen personnel transfer and avoidance, and do our utmost to prevent casualties.

　　Second, in-depth investigation of potential risks

　　Keep a close eye on the key difficulties and weak links in flood control and flood fighting, organize forces to carry out in-depth risk investigation on dikes, reservoirs (hydropower stations), warping dams, flood channels, projects under construction, major projects and important facilities, and immediately investigate and reform the problems found. Strengthen the inspection and monitoring of dangerous areas, and conduct strict and detailed investigations on key flood control areas such as river channels, areas prone to flash floods, landslides and mudslides, flood protection areas, and urban low-lying and waterlogged areas. Strengthen the inspection of reservoir dams and tailings ponds, strictly implement the reservoir dispatching operation plan in flood season, and prohibit unauthorized operation beyond the flood season limit. Towns and villages (communities) downstream of reservoirs and tailings ponds should conscientiously implement emergency hedging plans, and immediately start the plans in case of danger, and organize the masses to take the initiative to hedge.

　　Third, strengthen monitoring, forecasting and early warning

　　Pay close attention to mountain conditions, water conditions, flood situation and disaster situation, strengthen monitoring, forecasting and early warning, strengthen overall coordination, and discuss and judge in time. Meteorological, water conservancy, natural resources and other departments should encrypt the frequency of monitoring and forecasting, analyze the development trend of disasters in time, strengthen information sharing and business cooperation, strive to improve the accuracy of forecasting and extend the forecast period, and win more time for emergency evacuation and evacuation.

　　Fourth, resolutely and decisively transfer to avoid risks

　　On September 6th, the Office of the Provincial Flood Control and Drought Relief Headquarters and the Office of the Provincial Disaster Reduction Committee jointly issued the document "Opinions on Establishing the Working Mechanism of Personnel Transfer for Disaster Prevention and Evasion" (Shaanxi Flood Control and Drought Relief Office [2021] No.19), which regards personnel transfer as a key measure to deal with natural disasters, and makes specific arrangements from key links such as "who will transfer, who will transfer, where to transfer and how to transfer". All localities should continue to do a good job of implementation, further improve the evacuation plan, refine the implementation of specific measures such as organizational guarantee, division of responsibilities, forecasting and early warning, relocation and resettlement, and clarify the list of responsibilities, risk management and control, list of relocated personnel, list of safe havens, etc., and adhere to the combination of special prevention and group prevention and civil air defense technology and defense. It is necessary to overcome empiricism and think about the situation more complicated. When it is predicted that there may be a major flood danger, the relevant responsible person should decisively transfer the personnel in the dangerous area to ensure that the transfer should be completed and the transfer should be made early. In particular, it is necessary to implement "one-on-one" transfer measures for the elderly, left-behind children, patients and disabled people. It is necessary to strengthen the safety management after personnel transfer, and prevent unauthorized return before the disaster threat is lifted, causing casualties.

　　I hereby inform you.

CCTV News:"Strive to push the recombinant COVID-19 vaccine we are developing into clinical practice and application in the shortest time, and provide strong scientific and technological support for winning this epidemic prevention and control war."

In the recent "News Network" lens, a familiar figure appeared — — Chen Wei, academician of China Academy of Engineering, researcher of Academy of Military Medicine, winner of the 8th China Young Female Scientist Award.

Chen Wei likes to wear neat short hair and a straight suit, giving people a tough military image; But if time goes backwards, no one will think that the careless Tsinghua Student Union is her now. At that time, she worked as the first waitress in Tsinghua coffee shop, set up stalls and held dances. She was even considered by her classmates as the most unsuitable person to engage in scientific research. But it was she who devoted her time and energy to medical scientific research for twenty-nine years, linked her work with collective interests and national interests, and did what she liked.

race against time

On January 26th, 2020, on the second day of the Lunar New Year, 54-year-old Chen Wei led a team of experts dispatched by the army to Wuhan, and quickly put themselves into the work of pathogen transmission variation, rapid detection technology and vaccine antibody development in novel coronavirus.

A few days later, in the tent-type mobile detection laboratory of the Academy of Military Sciences, she and other experts applied the self-developed detection kit and cooperated with the automatic nucleic acid extraction technology, which greatly shortened the detection time of nucleic acid and improved the diagnosis speed. This is one of the achievements of Chen Wei’s team’s scientific research in the epidemic area.

In an interview, Chen Wei said: "With the test of dealing with Ebola and other epidemics, we are better prepared than ever before in terms of talent team, scientific research conditions and technical reserves. I firmly believe that we will win this epidemic prevention and control war."

What impressed Chen Wei when she settled in Wuhan was that she met Zhang Dingyu, the president of Jinyintan Hospital.

In the face of this colleague who is suffering from gradual freezing and his wife is infected with novel coronavirus, but still fighting in the front line, Chen Wei said: "Your deeds have touched me very much."

She can’t forget Zhang Dingyu’s concise reply: "Same to you."

It’s not the first time to face the epidemic.

Chen Wei’s acquaintance with the military medical college looks more like destiny takes a hand. In 1991, when Chen Wei’s teacher asked her to go to the Academy of Military Medical Sciences to buy an experimental reagent, her life track began to really change. That brief contact with the Academy of Military Medical Sciences made Chen Wei deeply impressed by the complete research environment and excellent researchers there.

It has been 29 years since I joined the army. Looking back now, Chen Wei’s eyes are still full of firmness: "From the first day I came to the army, I decided to stay here for a lifetime, because my old-timers are like this. I met many good teachers here and I learned a lot from them. This is the biggest reason why I stayed. I like to concentrate on doing this. "

The female major general who was specially recruited into the army in 1991 has made important contributions to many hard battles such as blocking SARS and fighting Ebola. In 2015, she led the team to develop the recombinant Ebola vaccine, which made the Ebola vaccine independently developed by China obtain the overseas clinical trial license for the first time.

"I am particularly proud that in the days when China and Africa jointly fought against Ebola, we contributed our talents to make China’s vaccine go out and achieve a zero breakthrough in overseas clinical practice." Speaking of such an unforgettable moment, Chen Wei’s eyes were filled with tears. From her eyes, we saw the image and responsibility of a great country behind the scientists.

Anthrax, plague, Ebola … … In the biological field, all kinds of pathogenic microorganisms may become weapons in the hands of the enemy in war, while peacetime may be the chief culprit leading to large-scale epidemic.

Chen Wei’s daily job is to study these "devil" topics. As soon as she thinks that these things may be used in wars and terrorist attacks, which will bring disastrous consequences to the country and the nation, she has a sense of mission and urgency in casting "biological shields".

Many people ask her, aren’t you afraid of being face to face with these deadly viruses every day? Chen Wei said: "I can’t think of any other reason except love." Wearing this military uniform means that all this is what you should do. "

Have a solid backing behind you.

In fact, Chen Wei not only has a shining military medal, but also has a harmonious and happy family.

Chen Wei’s husband gave up the generous treatment in Qingdao for her and came to Beijing alone. From the initial material shortage to the present happiness, Chen Wei and her husband have resisted all kinds of pressures together. Now, there is always a happy smile on Chen Wei’s face, just as she said, "Try to forget your gender at work, highlight your gender in life and do what you like, so as to be a happy woman. This state of life is what everyone should pursue." Happy Chen Wei, she did it.

In the eyes of his father, Chen Wei is serious and rigorous. "My daughter is engaged in a noble and great career, so I want to support her!" When Chen Wei’s father named her, it was because his father liked flowers and plants. Second, in his eyes, although rosa multiflora was ordinary, it had a long flowering period of half a year and had a faint fragrance. Roses, low-key and unobtrusive, can always be in full bloom regardless of wind and rain.

Although it was too late for father and daughter to say goodbye to each other during this expedition, he knew that since his daughter set off, she would race against time to the other side of victory. (Text/Di Chenchen)

Special topic: Wenchuan earthquake in Sichuan

Topic: Heroes of Earthquake Relief

　　　　Xinhuanet Beijing, June 14 (Reporter Liao Yi) "We should record this earth-shaking earthquake relief struggle in the form of literature, and show the unity and strength of heroic Chinese sons and daughters in the face of crisis and tell the world." Within more than a week after the Wenchuan earthquake, the Chinese Writers Association organized four China writers’ earthquake relief interview groups, including more than 50 writers and poets, to go to Sichuan, Gansu, Shaanxi and other hardest hit areas to experience life and interview and create. Day and night in the front line, writers and poets were all shocked by the heroes and touching stories that emerged in the earthquake relief, inspired by the national spirit highlighted in this disaster, poured their passion into the pen and wrote a lot of works containing the true feelings of writers, which touched countless readers, brought strong spiritual shock to the people of the whole country and great spiritual strength to overcome the difficulties together.

　　On the front line of disaster, China writers are with the people.

　　　　At the scene of earthquake relief, there are unyielding cadres and masses, people’s soldiers who put people’s interests above everything else, angels in white, who is committed to saving lives, volunteers at home and abroad who are silently dedicated, journalists who record history, and writers and poets who engrave national suffering and spirit.

　　　　Gao Hongbo, He Jianming, Huang Yazhou, Xu Jian, Li Mingsheng, Fang Min … Well-known writers and poets braved the threat of aftershocks and went deep into the disaster-stricken areas such as Dujiangyan, Mianyang, Deyang, Guangyuan, Wenchuan, Beichuan, Anxian, Qingchuan, Mianzhu, Shifang and Pengzhou in Sichuan Province, and interviewed the victims. Writers and poets such as Chen Jiangong, Chen Qirong, Xie Keqiang, Yang Ke, Tian He, Xu Kun, Jiang Wei, Wang Peng, Lengmeng, Sun Jingyan, etc., who went deep into the disaster-stricken areas in Gansu and Shaanxi, cordially visited the local victims and donated money to the local disaster-stricken rural areas and Hope Primary School …

　　　　In these shocking scenes, in those moving places, China writers are dancing. Among the writers who participated in the interview, the oldest is 71-year-old Sichuan woman writer Li Linying, and the youngest is Beijing writer Chun Shu and Hebei writer Chen Weijun born in the 1980s. In this way, several generations of China writers and poets have been close to the motherland, a painful land, and comforted their traumatized hometown with their feelings.

　　　　"This is a rare spiritual and emotional impact; The creative experience of this interview has made me mature. " Several young writers said.

　　Share the disaster, let the creation consciously pay attention to the people’s livelihood.

　　　　"Wenchuan, Wenchuan/At this moment, you make the whole Republic sleepless/sleepless nights/how many people can’t sleep! /So, the President of the Republic issued an order/the Prime Minister of the Republic took the lead/the Republic army marched in the rain/the Republic accompanied Wenchuan to tide over the difficulties! /Race death with speed/People’s safety is higher than the sky! "

　　　　"Today, I bow my head, not to cry/just to kiss the broken land/just to search between the heart and the ruins again/to find the crying of the baby/to find the breathing of the old people/to suck the blood from their wounds/to give birth to the miracle of the next life."

　　　　In a field tent, in successive aftershocks, under the bright or dark lights, first-line writers and poets wrote these hot poems with passion.

　　　　Xu Jian, a military writer, said: "This interview in the earthquake zone has made me more and more consciously return to the position of civilians, taking the whole life as a thought, taking universal values as a banner, and paying more attention to my parents, brothers and sisters." Writer Jiang Wei said: "In this disaster, the party and the people share the same fate, which fully embodies the relationship between fish and water, which has laid the most solid foundation for us to overcome the disaster." Xuanwu, a young writer, said: "Words present power, and civilization is passed down by such a power."

　　　　Whether it’s a writer who goes to the front line to interview the earthquake relief, or a writer and poet who is far behind, blood is boiling at the same time and passion is burning for the same goal! Many writers and poets have picked up pen and paper to sing for the great national spirit shown in the great disaster.

　　The work of blood is in harmony with the land and people.

　　　　"The combination of literature and songs is timely." This is fully reflected in the first-line creation of China writers and poets in earthquake relief.

　　　　Poems to Wenchuan, Carrying a Wife, Mourning: In the Name of the Republic, Angels on the Ruins, Life and Death, China at 14: 28, Flag Flying in the Highland of Life, A Child’s Salute, Let’s Share This Moment … These hot songs from the hearts of China writers and poets are sung through newspapers, radio and television. The earth-shaking truth has moved countless readers.

　　　　At the same time, He Jianming’s Report from Longmenshan, Unyielding Ridge, Qiushanshan’s Breakthrough from the Despair, Tracking: Long Baoping’s Rescue, Jiang Wei’s A Small Town that Surprised Us, Xu Jian’s Mourn of Abundance, Wang Peng’s Feeling New in Destruction, YongXian Quan’s Longnan Diary and Xuanwu’s Dangerous Situation.

　　　　There are many poets and writers who express their feelings in other literary styles. For example, Chen Jiangong and Wang Song created the essays Life and Death Game and Monitor respectively, Xie Keqiang created lyrics such as party member Commando and The People’s Liberation Army’s kindness is greater than the sky, and Chen Weijun created the Yue Opera "There is no way ahead" and the Beijing Opera "Chinese sons and daughters are grateful for each other".

　　　　The fiery front line of disaster relief has aroused the surging creative enthusiasm of writers and poets. Poets Huang Yazhou and Shang Zejun published poetry anthologies "China is so shocked" and "National Mourning: Poems about Wenchuan" respectively, all of which are first-line works in the disaster area. The Chinese Writers’ Association quickly organized the editing and publication of two poetry collections, Symphony of the Heart with a Feeling of the Earth and the Earth, and China: Shocking May.

　　　　"I strongly feel the power of literature, which keeps me awake at night and shocks me all the time, as well as warmth, strength and confidence, so that I can’t wait to go to the disaster area to fight with the people there and share the burden." This is a message from netizens to writers and poets in China.

　　　　Jin Binghua, Party Secretary and Vice Chairman of the Chinese Writers’ Association, said that there are too many people and things in earthquake relief that need writers to express and eulogize. The Chinese Writers’ Association will continue to organize writers to interview and create in the disaster areas, artistically reflecting the heroic achievements of the people in the disaster areas in rebuilding their material and spiritual homes under the leadership of the party and the government, and there will be more good works dedicated to the people of the whole country. The reporter understands that the Chinese Writers’ Association is organizing efforts to carefully edit and publish the anthology of poems, reportage and essays on earthquake relief, and will give them to the disaster-stricken areas to better inspire the fighting spirit of compatriots in the disaster-stricken areas and the people of the whole country.

Editor: Zhang Renhe

　　French writer Gide said: "Reading Dostoevsky is a lifelong event." Russian Aveman Ballet brought brothers karamazov to the 3rd China International Ballet Performance Season, which is a great event for the literary youth, opera fans and dance fans in Beijing.

　　Efman, who makes drama ballet into "contemporary"

　　Since 1980s and 1990s, Boris Efman has achieved the status of a world-class choreographer with his fiery psychological rendering. St Petersburg Aifman Ballet is also unique because of its "high altitude", high value and high ability in casting. It is precisely because of the excellence of the Evmanba Troupe, especially the joint efforts of choreography and performance, that Russian contemporary ballet quickly leaps to the forefront of the world, which not only contributes to the revival of Russian ballet culture on the world stage, but also represents a kind of "rebirth" of ballet.

　　There is a peak of literature or drama, but are you afraid that you can’t dance on the plateau of ballet? Of course not. For hundreds of years, although the development of ballet has something to do with the development of drama, it can’t be copied. Just as opera ballet in 18th century can’t copy the principle of "three unifications" of drama, the decline of Soviet drama ballet in 20th century is due to the mechanical application of "stanislavski’s drama system". One-sided pursuit of the story, ignoring the role of music and dance itself, no matter how vivid and true the "experiential school" pantomime is, it can only make the road of ballet more and more mediocre, and make the promising drama ballet become a pantomime ballet that "forbeares not to talk" and eventually end in the road. However, the concept of "psychological realism" in creation and performance is a feature of Soviet drama ballet, and the combination of actors and roles is also a magic weapon that Afman inherited. Therefore, in "brothers karamazov", Maria Abashova, the imperial heroine of Evman, bid farewell to the elegant and lonely Anna, and lived in the role of the integration of spirit and body in Glosinka, which makes people sigh, and the contrast is great! Of course, psychological ballet is also the credit of Russian psychological drama, which plays down the external plot and takes the inner world of the protagonist as the main performance space, so that the soul can stimulate a sharp edge in the collision.

　　Aifman inherited the exquisite tradition left by the predecessors and realized a thorough transformation. It is also quite important: Iveman turned the power of Russian classic literature into his own style — — Of course, there are also "ancestors" to explore the road. Just when the Soviet Union gave up drama ballet and found another way to create "symphonic ballet", the "modernity" in Russian literature ignited the inspiration of German drama ballet in the 1960s, among which the most famous masterpiece was the dance drama of the same name adapted from yevgeni onegin, the foundation work of Russian critical realism literature. The cooperation of duet, solo, four-person dance and group dance made ballet a wonderful combination of psychology, ideas, emotions and staged drama.

　　In the contemporary ballet stage, "expressing the human soul through dance", not just "telling a story by dance", has become the common aspiration of many outstanding contemporary dance masters. Both "human" and "soul" are key words that can not be ignored. It emphasizes the possibility of exploring human commonality and individual particularity with body language and realizing the work across time and space. Different from many European choreographers’ post-modern expansion of the classic "using the title to play", Evman still uses Russian literature as the medium to bring drama ballet into the "contemporary" field of vision. In the face of classics, Chinese accepted the re-creation of "respecting the original", not to mention Russian literature and Soviet literature, which once accompanied a generation of young people. Perhaps this is one of the reasons why Evman’s psychological ballet is gradually widely accepted in China.

　　Evman created the polyphonic ballet.

　　In the dance world of Evman, ballet is still beautiful, but the focus is not on beauty, because ballet has become a means for the role and audience to meditate together. If in many modern drama ballets, you can still tell the difference between performance dance and emotional dance, and you can also find dancing pantomime in it, then in brothers karamazov, not only the beautiful "plug-in" dance segments are excluded from the drama structure, but also the pantomime actions that generally explain the nature are avoided as far as possible, and the design materials of actions and gestures are basically abstract, leaving only essential dramas such as kissing, fighting and throwing money. The "psychological ballet" pursued by Evman is to find "a body language that can express the spiritual life of human beings", and the most attractive feature of Tuo’s novels is his philosophical exploration of the dark and profound mind.

　　Structure determines the success or failure of contemporary dance drama. The ballet version of "brothers karamazov" did not show the disastrous events that followed, nor did it rely on the ups and downs of the plot, but grasped the key plot line of "lust struggle". Therefore, the four fathers and sons and Grushenka, who is an angel and a devil, are the heroes of the play. As for the two dead wives of old Carla Matsov and the real murderer in the novel — — Another illegitimate child, as well as the eldest brother Dmitry’s fiancee, monastery elders and other roles have been hidden. Aifman is not just recreating a criminal investigation story of "killing his father" on the stage. He needs to think about how the main characters on the stage make this story happen, for example, he can’t "mime" the process of killing his father, or build a scene of court trial … … But let the story happen in the interweaving and conflict of ideas. In fact, we don’t know who the real murderer is, because the killing scene in the ballet is an abstract expression, and everyone is involved in it, and it is impossible to escape the guilt of "conspiracy". The cleverness of Efman is reflected here. Everyone in the play is suffering from complex and intense psychological torture. Like Tuo’s novels, the idea of the protagonist in the dance drama must also be the idea of the protagonist’s thoughts, and the setting of the relationship between the characters must also be reflected in the interweaving of thoughts.

　　We might as well use Bakhtin’s "polyphony" orientation to describe this dance drama — — Brothers karamazov is like a polyphonic ballet. In other words, there are no male and female leading actors in the drama, and the "spiritual world" of the protagonists is not completely controlled by the director. They are all independent individuals, and they are in contact with each other in the "dialogue". It’s just that the ideological duality of all the protagonists is not fully displayed in the dance drama. For example, Dmitry is simplified as a young man who falls in love with a romantic woman. Because of the lust struggle with his father, he becomes the biggest suspect in the "father-killing" incident and suffers a lot. Alesha, the youngest son, is the first hero to appear in the dance drama and the last curtain call. He is a devout believer, but he was once caught in a crisis of faith and was tempted by Grushenka. Later, Alesha’s heart fought fiercely, and his group dance with his multiple avatars showed us the cracks in his heart. But Efman did not show the reason why Alesha was caught in the crisis of faith.

　　Unlike anna karenine and Rodin, which Iveman brought twice before, love is no longer the core theme of the ballet version of brothers karamazov, but it is also an indispensable episode. Moreover, in this male-dominated dance drama, the actress’s scenes are often the highlights. Grushenka loves money more than men, and the only heroine is also the key to stirring up the tragedy. However, her greatest charm is not the romantic sex appeal that fascinates men, but her self-reflection. Therefore, in the second act, Efman made her dressed as a plain clothes bribe the prison guards, and danced a "behind bars duet" with Dmitry in desperation. The sincere love overflowed from the gestures, which was touching, which was in sharp contrast with the image of her flirtatious trampling on Dmitry and Alesha in the first act.

　　Before the performance, the only thing I am sure of is that this work must be more than just a dance drama with a pair dance of love to express its expression. Sure enough, father-son duet, four-person dance, brother solo dance, two-person dance and three-person dance made the upheaval special. The connection between dance segments often happens inadvertently, which shows that Aifman has made dramatic arrangements for the undulating internal structure of a piece of music — — The music continues, but the dance space has moved. Alienated father-son affection, fraternal affection, death, suffering, meaning of existence, fighting between good and evil, morality and religion … … In the uninterrupted dance space, they are twisted together, forming a big net of human self-test. Sometimes it makes people’s emotional, and sometimes it makes people hold their breath.

　　The ingenuity of music, lighting and dancing.

　　Crazy and wanton old Carla Matsov came in a trailer and was dragged by several prostitutes, which broke the silence of the three brothers shrouded in spiritual hymns. The music invaded so overbearingly, indicating that Iveman was "abnormal" in music setting this time. In the first act, the gorgeous Glossinka appeared with the folk songs of Tzgang style, and the manic and exaggerated brass instruments happened to be a portrayal of my father’s indulgence in life. At the end of the second act, when the music was suspended, Alesha returned to vulgarity among the people. The ethereal soprano singing in the play seems to come from the depths of the souls of three sons. In terms of music structure, this dance drama is often accompanied by such a sudden change in painting style. Although the styles of Wagner, Musorgskiy and Rachmaninov are "incoherent", they just show such a split and complicated family atmosphere. Similarly, the lighting of the dance drama is unpredictable, and the light and shade change quietly, and the scene of wanton dancing instantly evolves into a son’s monologue, or separates the different spiritual worlds of the protagonists.

　　The stage design of Efman’s works is simple and full of multiple symbolic meanings. A covered bridge, which is set up by the spiral staircase leading to the cross, is sometimes a romantic place for feasting and sometimes a big iron frame like a prison; The big net stretched out from Alesha’s body, the rope that tied Dmitry in the air and the child’s "skipping rope" went to his father’s hand, but it became a whip to Ivan, the pistol that split Ivan’s personality … … Are permeated with a burst of coolness. There is also a long table with erotic drama, which is also an important connection between father and son, and eventually becomes the only witness of the murder case, which makes people feel scared.

　　Literature gives dance power.

　　Of course, Efman is more interested in why this story happened. Although this deformed story of "coupled family" caused by social transformation is extremely special, the thinking of the characters in the play is also a problem faced by modern human beings. The dialogue between God and soul, which seems to be detached from the plot, actually influences the behavior of the characters.

　　In the ballet, except that Alesha is dressed in a black and white robe of a monk, Dmitry and Ivan are dressed like two contemporary youths. On the whole, the images of Ivan and Alesha are full, especially Ivan. What impressed people was several duets between Ivan and his brother. In the first act, he first had a spiritual "conversation" with Alesha. It was a "men’s duet" in which three people danced, and the one who was more was the incarnation of a holy angel. Paradoxically, the ugly old father even spared the "angel". Later, his duet with Dmitry began Ivan’s "dialogue" mode.

　　In the second act, the duet and group dance of Ivan and Alesha are intertwined, and the voice-over becomes an important element. Those group dancers dressed in prison uniforms repeated Ivan’s mechanical movements and surrounded him completely. Although the body texture of the "prisoners" became soft and comfortable by accident because of Alesha’s inspiration, Ivan resolutely dominated the dialogue between them in terms of physical relationship, just like the "religious judge" in the original novel talking to the silent Jesus. Bread or freedom? In the face of Ivan’s strength, Alesha just silently kissed Ivan on the forehead, but it has the power to moisten things silently. Contrary to many male dancers, Fisher, the actor who plays Alesha, is not a tall and powerful dancer, but more convincing. Perhaps it was this kiss that made Ivan after him re-examine himself. He continued to manipulate the "prisoners" who lost their freedom and repeated forceful actions, but the occasional tremor was very obvious, and finally he stumbled and fell. On the analysis of Ivan’s heart, Evman kept the most discussed and famous literary fragment in the book. The strength of this dance comes more from the literature itself. I wonder if this is a pity or a blessing?

　　There is another scene in the play that is meaningful. Dostoevsky once deliberately emphasized the beauty of children’s hearts in his novels. In the first scene, an innocent girl plays a skipping game, but can these simple beauties really stop evil? What is terrible is that this rope that brings happiness turned out to be a whip waving on Ivan. Ivan’s mind has the creed of "doing nothing with evil", and his "duet" is his dialogue with demons. Due to the absence of the illegitimate child, the dance drama did not clearly show who was the real murderer, and this "duet" pointed the murderer at a doppelganger of Ivan. In any case, he could not escape the guilt of instigation and incitement.

　　Finally, the three brothers who warmed each other with love and Gloucesinka reached the same goal by different routes, and they all went to the road of self-salvation and approached the spiraling cross one after another. These miserable souls are willing to tear the wound open for us to see, even though the fester is still bleeding and pus, they still have to expose Lu Xun’s so-called "true whiteness hidden under that evil" … … Dialogue with Ivan is the key to Alesha’s spiritual transformation. In redemption, love and goodness are eternal. But the whole viewing process is full of confusion, circuitous and anguish. I think, Iveman succeeded.