The Adaptation And Rheology Of Model Operas

Model operas are a special kind of literary style in the history of Chinese literature. It originates from political appeals, draws from the past art master copies with political words and tries to sing the praises of CPC and Chairman Mao through the character of Gao Daquan, who is a typical representation of heroes. Model operas, as the dominant ideology of Cultural Revolution literature, arouse much attention of educational circles day by day.The thesis takes model operas as the target and includes three parts with three chapters. The first part makes a brief introduction of the concepts, backgrounds and other basic information. Then, the entire observation is made according to the chronological order and not limited to the time of Culture Revolution. They also make comments to different editions of model operas. Besides, the master copies, model operas movies and all kinds of related dramas are all introduced.In the seconv part, it is divided into two chapters according U. former period and latter period of model operas and does a lot research on different versions of model operas. In the former period of model operas, four works are chosen and researched as Harbor, The legend of red lantern, Taking Tiger Mountain and Shajiabang. And in the latter period of model operas, another three dramas with great influence are chosen as the legend of red lantern, Tracks in the snowy forest and Shajiabang and are comparatively studied with full-fledged masterpieces of model operas from the aspects of characters, stories, clues and narration.In the third part, in the end of the second chapter and the third chapter,on the basis of results compared with different versions, related knowledge of comparative literature and adaptation strategies of model operas, such conclusions are achieved. Firstly, shaping strategies of model operas are summarized and success or failure of adaptation is also deeply analyzed. Secondly, from the two dimensionalities of loyalty and innovation, the latter period of model operas, the adaptation strategy from model operas to dramas are also summed up and outlines the defects of dramas. There are a number of differences between the dramas and the original model operas. Then, dramas betray the loyalty of the adaptation strategy and pay too much attention to creativity. At last, in the drama, characters in the model operas are also changed to some extent.