The Virtual And Real Strategies Of Character Setting In Historical Dramas Since The New Er

Since the new period,the historical characters in the historical drama show different aesthetic tendencies.On the one hand,the creation of historical figures has got rid of the simple writing of the microphone,and both the real figures and the virtual figures show the artistic characteristics of a thousand faces;on the other hand,due to the author’s superficial and mechanistic interpretation of the national policy and the realistic theme,the original historical real characters also present the malady of "face-painting" and "Masquerade".Specifically speaking,in the creation of the current historical theme plays,there has been a real historical character "false" abnormal phenomenon.This paper attempts to analyze and examine the "authenticity" of the real characters and the virtual characters in the historical plays since the new period as a whole,then,from this point of view,the author probes into the influence of the false and real settings of the characters on the theme expression and artistic style of the play "Qing Gui Tao ran Ting",and finally reveals some common rules of the false and real settings of the characters in historical dramas.In addition to the introduction and conclusion,this paper is divided into three chapters to "the new period since the history of the drama set the strategy of false and true" for in-depth analysis.The introduction reveals the necessity and profundity of the research on the strategy of setting up the characters in historical dramas since the new period.There has been a long-standing debate on the truth and fiction of character setting in historical dramas.Such a well-known historical legacy problem has not only not been solved theoretically,in the creative practice also faces the same dilemma.However,these arguments restrict the development of the whole historical drama,which is worth further research and analysis.The first chapter discusses the new period since the historical theme of the performance of the set of characters.In this part,the historical figures involved in the historical dramas such as "the story of the southern Tang dynasty","Fu Shan enters Beijing","before the candlelight","Tears in the new pavilion","Liu rushi","the dawn of the Moon in the middle of the pass","Ban Zhao","Qing ru Huo" and "the liver and the gall" are comprehensively grasped,this paper studies and analyzes the commonness of the real characters,the virtual characters and the relationships among the characters in the play,and refines the artistic characteristics of the real characters in the historical drama The aesthetic tendency of the fictional characters to be different from one another,and the writing strategy of the historical characters to deal with the relationship between Loser on loser.The second chapter focuses on the creation of characters in Tao Ting’s drama.Firstly,this paper expounds how to deal with the relationship between "historical reality" and "artistic reality",and then discusses the influence of virtual reality setting on the theme expression and artistic style of the work through the comparison of the works of the same historical figure "Shi Pingmei"(Jin opera "Gao Junyu and Shi Pingmei" Kunqu Opera "Tao Ran emotion"),and reflects on the aesthetic shortcomings of the treatment of virtual reality in the creation of "emotional Tao Ran Pavilion".The third chapter reflects and summarizes the law of character setting in historical dramas since the new period.Combined with the previous research and analysis of the expression forms of real and fictional characters,this paper reflects on the "falseness" of historical characters in the creation of modern historical dramas,and summarizes the universal law that the creation of historical dramas should grasp the "God" of historical characters and cut through the historical gap,and briefly analyzes and summarizes the interaction between the historical view and the view of literature and art behind it.The conclusion asks about the fictional limit of the purpose of historical dramas.Firstly,through the theoretical analysis of Chinese and foreign dramas,it is clear that only when dramatists do not take the expression of historical truth and "history for the purpose" as the fundamental principle of artistic creation,but more recognize the drama creation of "poetry for the purpose",can we really start the consideration of setting the fictional limit of characters.Next,the author discusses the fiction of character setting,and believes that there are limits to fiction,whether it is "historical essence truth theory","historical aesthetic truth theory" or "non prototype history theory".This further proves that the creation of historical drama grasps the "God" of historical characters and cuts into this Law from the historical gap.