A Study On The Adaptations From The Yellow Storm

The Yellow Storm is a full-length masterpiece novel by Lao She based on Beijing falleninto Japanese hands for eight years of the Second Sino-Japanese War. There have been four times of adaptations from The Yellow Storm; A TV drama in1985, a Beijing QUJU Opera in2001, another TV drama in2009, and a play in2010. Each adaptation displays different view of interpretation and awareness of time of re-creation. In this study I will analyze each adaptation in format and contents and examine how each work described the original and what relationships they have.In the first section of Chapter1,1will introduce the overall status of adaptations from Lao She’s productions and discuss the reasons why his numerous works are welcomed by the audience as well as receive attentions from the cultural society in the perspectives of format and contents. In the second section, focusing on The Yellow Storm, I will examine what characteristics this masterpiece has compared with other works based on the Second Sino-Japanese War and especially why it drew so much attention since21st century.In Chapter2,1will analyze the1985version TV drama, the first adaptation from The Yellow Storm. This work has been highly appreciated as the first full-scale TV drama in China. I will analyze the special features appeared in the process of adaptation in three aspects; the emphasis on nationalism of the characters, the marriage life issues of the intellectuals, and the attitudes towards traditional family system and political parties. The2001version Beijing QUJU Opera will be analyzed in Chapter3. Beijing QUJU Opera is a genre of drama invented after the formation of the New China and Lao She named it by himself. Beijing QUJU Opera is closely connected with Lao She from its beginning. I will discuss the specialties of adaptation in format and contents, and how it depicted the original.In Chapter4, the second TV drama,"new version" drama in2009will be examined. This adaptation has the longest and most substantial contents. I will address the characteristics mainly focused on three of them; the stress on activeness of the protagonist, the exaggeration and caricaturization techniques shown in figuration of the antagonist, and the conception and aspiration for the future.In Chapter5, I will analyze the2010version play, the latest adaptation from The Yellow Storm to date. The analysis will be focused on the stage settings and the lines of the actors, the expression techniques including the "Running Rickshaw", the strategy towards audience and figuration of the characters, and the manner of selection from contents of the original and how it is portrayed in the play.