From The Old To The New:A Study On Wang Zengqi’s New Adaptations Of Ancient Drama

This thesis takes Wang Zengqi’s new ancient drama as the research object and regards Wang’s adaptations process of his new ancient drama as a historical remolding,which means the historical subject and its subjective consciousness have completed a reproduction through a series of changes of dynamic relations such as generation,compensation,suppression,replacement and projection.Therefore,the thesis framework is based on the comparison between the adaptations and the original works in the new historical context.It uses the character analysis as a clue to excavate the changes of this series of dynamic relation terms and the deep structure behind them.The first chapter expounds that Wang added a third perspective“play-watcher” and supporting actors that can express the author’s main voice,compared with the original works.He explores the characters psychology and shows excellent psychological description of characters in order to prove the unique humanitarian spirit behind them,and its particularity in the context of a special era.The second chapter focuses on that Wang abolished and suppressed the feudal characters.At the same time,he deconstructed the serious image of “Historical Great Man”.Wang kept a gentle attitude towards this kind of problematic people which reflected a positive philosophy of initiation in the expression of daily life details.In the process of suppressing the old “man”,Wang gradually integrated them with the reality of modern life and restored the original form of real life.In the same creation period,it shows a certain correspondence with the new realism,but it is not all the same.The third chapter stressed out that Wang Zengqi replaced the modern ideology of the characters in the drama which is mainly reflected in the modern transformation of the characters represented by surrealistic characters,female images and intellectuals,and the modern transformation of the characters relationships between the marriage and intergenerational relationships.It also reflected the old man’s innovation spirit of “decadent reform”and the “youth identity” under the pursuit of “pains”.From the old to the new,Wang tried to destroy the deadlock of traditional drama and attempted to reform of traditional drama,which also produces his unique personal aesthetic characteristics.