| As one of the four major folklores in China,the story of Butterfly Lovers is the best well-known.Until today,it has been constantly adapted into various art forms,singing an ode to love,freedom and life.The story originated from the Eastern Jin Dynasty.In the history of more than 1600 years,it was endowed with rich connotation through the processing of folk artists and scholars.In the 1950s,under the influence of literary and artistic policies,the adaptation of"Liang Zhu" was mainly based on opera literature.The adaptation of Liang Zhu Opera Literature represented by Beijing Opera "Love Under the Willows","Yingtai against marriage" and Yue Opera"The Butterfly Lovers" was not only a model work to cater to political ideology,but also retained the aesthetic imagination and ethical value which Liang Zhu legend rooted in the folk in a unique way.Exploring the integration of "Butterfly Lovers Story" Opera Literature adaptation into the cultural context of the 1950s and the retention of the folk nature of the story will help us understand its gains and losses,learn from experience and lessons.In addition to the introduction and conclusion,this paper is divided into three chapters.The introduction includes the research overview on the legend of Liang Zhu,a review of the evolution from the origin of the story to the modern period as well as the laws demonstrated during the process.The first chapter mainly summarizes the general situation of the literary adaptation of"Butterfly Lovers" Opera under the background of opera reform,makes a specific study of three representative operas,and explores how the folklore of"Butterfly Lovers"meets the needs of politics.Among them,the transformation of the identity of the adapter and the need of political ideology are the influencing factors that can not be ignored.These two factors together promote the adaptation of the story’s opera literature to tell the discourse of the times,strive to strengthen the theme of anti feudalism,and play a strong voice of the times.The second chapter summarizes the folk nature of the story’s Opera literary adaptation in the 1950s while moving closer to the literary policy.As a folk ideology,opera contains the ethical and aesthetic orientation originally derived from the folk.When it is impossible to avoid the influence of the mainstream ideology,it is not transformed in one direction,but competes with it in an implicit or explicit way.In contrast to the mainstream literature,the humanity embodied in the literary adaptation of the story’s opera,the beauty and amorousness of Zhu Yingtai,and the retention of the superstitious end of "turning into a butterfly" all reflect the folk nature.The third chapter compares the rewriting of the story’s novels in the same period,studies the significance of the adaptation of the story’s opera literature,and makes comments and suggestions on the current adaptation of its legends.Compared with the consistency and harmony achieved in the adaptation of folk discourse and political discourse by Butterfly Lovers’ Opera Literature in the 1950s,the rewriting of Liang Zhu’s novels by Zhang Henshui and Zhao Qingge shows that when the writer can’t find a position in the new era,he turns to folk literature as an expedient to repose his personal feelings.The adaptation of Butterfly Lovers’ Opera Literature in the 1950s is the unity of the demands of the times and the writer’s personal life experience.Compared with the commercialization and vulgarization of the adaptation of the story’s legend since the new period,the adaptation of"writings are for conveying truth" is commendable.The conclusion part briefly summarizes the gains and losses of the adaptation of Traditional Opera Literature "Butterfly Lovers" in the 1950s based on the social reality at that time.On the one hand,it affirms the achievements made in the modernization of the story’s opera;On the other hand,it evaluates the disadvantages of discourse dislocation and theme first to meet the needs of ideology. |
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