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当前文学和屏幕发生着日益频繁的横向联系,这是一种互利性的交流:文学作品为荧屏提供了丰富的思想与艺术的源流,电视也为文学作品的普及与传播插上了翅膀.于是大量的古典文学名著被搬上了荧屏,《红楼梦》,《西游记》、三国,水浒戏都纷纷登场,唯独《儒林外史》是块难啃的“骨头”.很少有人问津.这部长篇,实属短制,既无离奇的情节和强烈的戏剧冲突,也无贯穿始终的人物.书中充满辛辣的讽刺和一些近乎荒谬的情节,似乎属于喜剧范畴,但人物命运又十分蹇滞可悲,作者吴敬梓常常寓谐于庄,令人难以把握住体裁的特征.所以编导者蒋广森在二度、三度创作时就面临着一种两难境地:一要忠实于原著的风格与神韵,保持“雅”的一面;又要使这部电视系列剧具有可视性,让
The increasingly frequent horizontal connection between literature and the screen at present is a mutually beneficial exchange: literary works provide a rich source of ideas and art for the screen, and television is also equipped with wings for the popularization and dissemination of literary works. A large number of classical literature masterpiece was put on the screen, “A Dream of Red Mansions”, “Journey to the West”, the Three Kingdoms, Water Margin drama have appeared, except “Confucian Scholars” is difficult to eat “Bone The lengthy, short form, with no bizarre plot, strong dramatic conflict, no consistent character, the spicy satire and some absurd plots in the book seem to fall into the category of comedy, but the fate of characters Very sad and staggering, author Wu Jingzi often harmonic in the village, it is difficult to grasp the characteristics of the genre.Therefore, director Jiang Guangsen in the second, third creative time is facing a dilemma: one must be faithful to the original style and Charm, maintain the ”elegant" side; but also to make this TV series has visibility, so