Research On Human Tragedy In Chinese Palace Dramas In The Past Decade

As a major branch of costume drama,imperial palace drama portrays the dynastic achievements,power struggles,emotional entanglements,and historical achievements of royal and noble families,satisfying contemporary audiences’ curiosity and fascination with the spectacle of imperial palace life.Chinese tragedy,which takes themes from texts such as "Yuan Pu","Ku Xi",and "Ai Xian",is not only a means of inheriting classical civilization and extending traditional values,but also reflects human self-awareness arising from the currents of the times and survival struggles.Imperial palace dramas often wrap creators’ introspection of human survival situations under the guise of narrative plots,triggering conflicts and contradictions in multiple relationships between people and systems,others,and the environment.They promote cultural inquiries and aesthetic attention to the tragic fate of humanity.Therefore,when constructing narrative space,Chinese imperial palace dramas inject a tragic temperament of hardship and joy,grief without harm into the ups and downs of characters’ destinies.They use negative and critical touches to achieve profound reflections on the situation of human survival,reality,and life values.As a major type of Chinese tragedy,the humanistic tragedy form takes the disclosure of human suffering and the reproduction of the value of life as the basic point of tragedy,emphasizing the subject’s position of humans in tragedy.It is considered that tragedy arises from the alternation of human challenges and responses,happiness and pain,and its essence is to refine,affirm,and revive mainstream human values after tragic destruction.Cultural scrutiny and philosophical thinking are important dimensions in measuring the life connotation of a work.The interaction between imperial palace drama and humanistic tragedy form is not only to regard imperial palace drama as an artistic carrier for tragic expression,writing about the fusion and collision between historical traditions and social civilizations in an "imperial palace-style" tragic context,but also to transform the humanistic tragedy form into a mirror for observing the artistic mood and human philosophical thinking behind theatrical plots,delving into the irreconcilable conflicts between human existence territories,and revealing the artistic and cultural connotations behind theatrical plots.They point out the profound thinking of human ontology awareness and national culture.Starting from the form of humanistic tragedy,the study of Chinese imperial palace dramas is helpful in improving the excessive rendering of "palace struggle elements" in imperial palace dramas and exploring cultural and philosophical thinking concerning dimensions such as life,emotion,bloodline,nature,ritual law,and morality under the perspective of tragedy,thus avoiding negative guidance towards phenomena such as concessions to stimulating "feel-good" culture and the alienation of mainstream value systems.This article takes China’s imperial palace dramas of the past decade(2011-2021)as a research object,discarding the shallow meaning of "palace struggle" and "light culture",combining the aesthetic implications and type characterization of Chinese tragedy theory,rooted in the form of humanistic tragedy,and from the three dimensions of people and systems,people and others,and people and environment,examines the forms of humanistic tragedy in imperial palace dramas.By interpreting unique image narrative mechanisms such as characters,plot,and ending,it analyzes the distinctive tragic style,tragic connotation,and tragic undertone of imperial palace dramas,reflects on the establishment mode of tragedy form,and interprets the artistic text,cultural connotations,and reconstruction of tragic forms in imperial palace dramas.Standing at the intersection of imperial palace drama text and humanistic tragedy form theory,this article explores the stitching path between historical imagination and cultural writing,ethical thinking,emotional resonance,value recognition,and real-life metaphors.It mainly uses text analysis and comparative study to observe and research China’s imperial palace drama image text of the last decade,in-depth analyzing the artistic aesthetic and cultural connotations of tragic forms in imperial palace dramas,and summarizing the type construction,style establishment,and aesthetic construction of tragic forms in imperial palace dramas.The thesis will be divided into four chapters to study the humanistic tragedy forms in China’s imperial palace dramas of the last decade.Chapter one aims to outline the tragic form and analyze the imperial palace dramas of the past decade.Based on the definition and evolution interpretation of imperial palace dramas,it clears up the relationship between "historical TV dramas," "costume dramas" and "imperial palace dramas," and takes Chinese and Western tragic theories as the origin points to explore the history and research origin of tragic art and indicate that tragedy encompasses social,historical,cultural,and philosophical research categories.It distinguishes the differences between Chinese and Western tragedies and on this basis,summarizes the type construction of tragic forms and the characteristics of humanistic tragedy forms,clarifies the research object and category evolution of this paper,and outlines the form of humanistic tragedy in imperial palace dramas and its integration with artistic text.Chapter two aims to summarize the types of humanistic tragedy forms in China’s imperial palace dramas of the past decade.Based on the theoretical paradigm of humanistic tragedy form and the image representation of imperial palace dramas in the last decade,the author selects ten representative works and divides humanistic tragedy forms into three dimensions of people and systems,people and others,and people and environment.Analyzing the tragic explication of ancient society and human fate through Chinese traditional concepts of ethics,hierarchy,family and country,and Taoism,constructing the group perspective and value nucleus of tragic characters in the imperial palace scene.Chapter three aims to sort out the artistic strategies of humanistic tragedy forms in China’s imperial palace dramas of the past decade.Based on the research paradigm of TV drama art form,this chapter includes the aesthetic qualities of softness over strength,combining grief with joy,grieving without harming,and virtual and real coexistence in the tragic connotation.From three dimensions of tragic characters,plot,and ending,this chapter seeks the narrative characteristics and style presentation of tragic forms in image mechanisms.Among them,the character image is divided into the image attribute,identity trait,and value orientation.The plot design is divided into five modes: group,legend,extension,mixture,and neutralization,and the ending form is divided into two paths: secular and ideal type reunion.It explores the integration mechanism of the humanistic tragedy form and image expression through specific examples.Chapter four aims to reflect on the hidden worries of the humanistic tragedy forms in China’s imperial palace dramas of the past decade.Based on the elements of humanistic tragedy,artistic shaping,and the stitching mechanism of imperial palace dramas and tragic forms,this chapter reflects the creation worries of tragic forms in imperial palace dramas in the last decade from three dimensions of type emphasis,single-voiced pity,and weakened tragic passion,and explores the balance between reality and imagination,culture and art,tradition and modern.Through this analysis,the paper aims to contribute to the development of Chinese palace drama and human tragedy and promote the harmonious coexistence of traditional culture and modernity.