Lionel stood up and walked to the center of the living room, like a professor about to begin a lecture.
"Firstly, regarding Director Razi's 'harshness.' I believe that true light only appears more precious and radiant when contrasted against deep darkness.
Director Razi is not an 'evil person.' He merely firmly believes that 'strict discipline and punishment' are the only effective ways to save these 'lost lambs.'
He represents a certain... hmm... 'rules above all' philosophy. This philosophy is often seen as an expression of 'responsibility' in reality."
He paused, observing the expressions of the review committee members, noting that while they remained serious, they seemed to be contemplating.
"And Teacher Mathew's arrival is precisely to break Director Razi's obstinacy and prove that 'love, tolerance, and beauty' also possess a more powerful transformative force.
If there were no resistance from Director Razi, how could Teacher Mathew's preciousness be highlighted?
Only when the audience sees the light of salvation piercing through the 'harsh' barriers will they truly be moved!"
The three members of the review committee exchanged glances.
Monseigneur Vallette's fingers lightly tapped the sofa armrest, seemingly weighing Lionel's explanation.
Monseigneur Vallette finally spoke slowly:
"Your analysis has some merit, Mr. Sorel. From the perspective of dramatic construction, such an opposing force is indeed necessary.
However, we are still concerned whether the audience will overly focus on Director Razi's harshness and obstinacy, rather than understanding the... hmm... 'responsible' initial intention behind it?
After all, he is a clergyman, and his image is, to some extent, linked to the reputation of the Church."
Evidently, his doubts had not been entirely dispelled.
Lionel smiled slightly:
"Monseigneur, your concerns are very practical. So, why don't we try experiencing it from a different angle?
Words are silent, but drama is alive. Only when performed will it give characters completely different nuances."
He walked over to Father Lafourgue and pointed to another line of Director Razi's in the script—it was a monologue from the first act, when Director Razi first introduced the reformatory situation to Mathew:
[Act One, Scene Two
Director Razi: "Here, order, discipline, and punishment are the only ways to cleanse souls and guide them towards the light. Any weakness or indulgence is a concession to the devil, a further harm to their souls."]
Lionel's smile was full of sincerity:
"Father Lafourgue, could I please ask you to embody 'Director Razi' and read this line according to your understanding?
No need for elaborate acting, just read it in the tone you believe is most natural and fitting for his character."
Father Lafourgue paused, looking somewhat at a loss toward Monseigneur Vallette.
A hint of curiosity flashed in Monseigneur Vallette's eyes, and he nodded, indicating he could try.
Father Lafourgue cleared his throat, picked up the script, and after several hesitations, he tried to read in a calm, firm, and even gravely responsible tone:
"Here, order, discipline, and punishment are the only ways to cleanse souls and guide them towards the light. Any weakness or indulgence is a concession to the devil, a further harm to their souls."
His voice was not loud, but filled with conviction and persuasiveness, sounding more like a stern father stating a severe but necessary truth, certainly not a ruthless oppressor.
Lionel immediately applauded:
"Excellent! Father, you read it wonderfully! Do you feel that this line doesn't sound so 'harsh'?
Instead, it's filled with a certain... hmm... 'sacred sense of responsibility'?"
Father Lafourgue himself seemed somewhat surprised and instinctively nodded.
Lionel then looked at Brother Duclos:
"Brother Duclos, would you like to try? For example, another passage—what Director Razi said when he rejected the choir."
He turned to another page:
[(Act Three, Scene One)
Director Razi: "Music? Singing? Those are merely useless adornments, a haven for weak souls! Here, we need an iron will and absolute obedience to rules, not these decadent tunes! They only distract, breeding laziness and delusion!"]
Brother Duclos hesitated for a moment, then tried to read in an earnest, even slightly distressed tone, as if correcting a brother who had gone astray:
"Music? Singing? Those are merely useless adornments, a haven for weak souls! Here, we need an iron will and absolute obedience to rules, not these decadent tunes! They only distract, breeding laziness and delusion!"
His portrayal was like a conservative elder who, out of excessive worry, adopts extreme methods, but whose original intention is to prevent children from 'going bad.'
Lionel affirmed again:
"Splendid! Brother, your rendition is equally brilliant! Monseigneur Vallette, what do you think?"
Monseigneur Vallette was silent for a moment, carefully pondering the readings of his two subordinates and Lionel's explanation, and found that Lionel indeed had a point.
Words are cold, but when read aloud, they become imbued with emotion.
The character of Director Razi was indeed not purely negative; he could even evoke complex feelings of regret or empathy from the audience.
Most of Monseigneur Vallette's doubts dissipated:
"I must admit, Mr. Sorel, your understanding of dramatic expressiveness is very unique and profound.
This is indeed an interesting perspective. Perhaps... we were too focused on the surface meaning of the words."
The atmosphere in the oratory eased considerably due to the "line readings."
Debussy quietly breathed a sigh of relief, remaining silently by the piano, as if he were an exquisite musical ornament.
However, Monseigneur Vallette had one last concern:
"We can temporarily set aside our doubts about how Director Razi's character is portrayed.
But why must the play's ending involve Director Razi dismissing Teacher Mathew?
Why couldn't the director, after witnessing the choir's success and the miraculous changes brought about by music, have a sudden change of heart and keep Mathew?"
Father Lafourgue immediately echoed:
"Yes, Mr. Sorel! Wouldn't such a 'happy ending' be better?"
Brother Duclos also nodded repeatedly:
"From a dramatic effect perspective, where conflicts are resolved and good and evil together move towards the light, this also seems more in line with traditional morality."
Lionel listened quietly until they finished, then gently shook his head.
He began:
"Firstly, dramatic structure requires completeness. Teacher Mathew's arrival is a 'beginning,' and his departure is an 'end.'
This forms a complete narrative. He has already sown the seeds of music, the seeds of hope, in the hearts of every child.
His departure precisely proves that even if the sower is gone, hope remains and flourishes.
If he were to stay, the story would lose this symbolic sublimation and turn into a fairy tale to coax children."
Monseigneur Vallette and the other two exchanged glances, then all looked at Lionel, awaiting the second reason.
Lionel's tone remained calm:
"Secondly, a truly good comedy carries both laughter and sorrow; flawless light would only appear false.
Teacher Mathew being forced to leave, this tiny 'imperfection,' this slight 'regret,' is precisely what can resonate more deeply with the audience!
It makes us understand that light comes at a cost. This is far more powerful than a forcibly pieced-together 'happy ending'!"
Finally, Lionel's voice even carried a hint of enticement:
"Think about it, as Teacher Mathew walks out of the reformatory gate, dejected and alone...
Suddenly, from behind countless tall windows, numerous small hands reach out, and paper flowers, like snowflakes, drift down from the sky. At this moment—
The melody of 'Night' plays again... How would the Parisian audience react to this scene?"
Silence once again fell upon the living room.
Monseigneur Vallette's fingers lightly tapped the table, Father Lafourgue and Brother Duclos awaited his decision.
The scene of "farewell with paper flowers" that Lionel had described was indeed highly visual and emotionally impactful; they had already envisioned that moving scene in their minds.
After a long while, Monseigneur Vallette finally let out a sigh, looking at Lionel with a complex gaze that held admiration, resignation, and even determination.
"Mr. Sorel, although we still have reservations, we must admit that this ending might indeed better guarantee this work widespread influence."
"The core plot of the script, including the ending, can be retained as you envisioned. We will report our preliminary approval to Archbishop Guibourg.
However, during subsequent rehearsals and before the final performance, Brother Duclos will come to check periodically."
Lionel stood up and bowed slightly:
"As you wish!"
(End of this chapter)
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