Perhaps for the sake of maintaining a consistent performance style, Su Daji chose the same theme for her last public performance.
—"Women's liberation".
Since the start of the three performances of "Produce 101 Selection Camp", she has delivered three wonderful and exhilarating performances, telling the stories of three women from different dynasties and circumstances.
In "I Want to Be the Empress," she is a legendary femme fatale who wants to break free from infamy and take control of her own destiny.
In "The Story of the Eastern Wing," the daughter of a high-ranking official, who disguises herself as a man to resist the allure of "love," is so eccentric that her family considers her a madwoman and buries her alive.
The working mother in "An Lala's Promotion Diary".
...
It was precisely because of these outstanding performances that she resonated with and gained recognition from a large number of female viewers, which made Fu An'an feel an unbearable jealousy and obsessively want to imitate her style.
Just when the audience thought that she would follow her usual style and develop a story with a female character, they were surprised to find that the scene on the screen had changed.
The enormous stage was divided into three large curtains, and the large screen was split into three different parts, each displaying a background from a different dynasty.
The legendary femme fatale played by Su Daji.
Xu Zhenzhen plays the role of a woman disguised as a man, the daughter of a high-ranking official.
Xiaoyu plays a young working mother.
They appeared on the stage at the same time.
Obviously, they were extremely surprised. The infamous concubine, the daughter of a prime minister disguised as a man, and the working mothers did not understand why there was someone next door at first, and all showed expressions of fright.
It wasn't until they were living in modern times that the most knowledgeable working mothers realized they might be having a conversation across time and space. They were the first to break the awkward silence and started the conversation by introducing themselves.
As the self-introduction was sung word by word, everyone realized that the timeline here was actually ten or twenty years after each woman's struggle for freedom.
This is truly amazing.
Awakening and struggle are always central themes in artistic creation.
On stage for thousands of years, audiences have watched one brave protagonist after another raise the banner of awakening and struggle, embarking on a thrilling journey of struggle with unwavering determination and fearless courage.
After experiencing epic and moving battles, they either won and gained the freedom they desired, or they exchanged their blood or lives for freedom and realized their ideals.
Every story ends at the moment the struggle concludes.
For example, the performance that Fu An'an just presented, and the stories of women of different ages, in different circumstances, with different identities, and in different dynasties that Su Daji and the other two had previously presented, all bravely fighting against the epidemic.
But life goes on even after the struggle ends...
After their struggle, what are their lives like, what is the world like, and has their life changed at all? Or to put it more cruelly, was their struggle even meaningful? Or was it just a self-indulgent act?
These are the overly mundane realities, the overly negative outcomes, the undramatic nature of life itself—issues that are subconsciously overlooked by artists and writers…
Su Daji brought it to the stage.
Sensing what Su Daji wanted to say and understanding the boldness of this attempt, all the audience members subconsciously held their breath.
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