| Li Jianwu is a prolific playwright in China’s modern literary world.He has written and adapted more than 40 plays throughout his life.In his drama creation,adaptation plays are a part that cannot be ignored.During the fall of Shanghai,Li Jianwu created a total of 13 foreign rewritten plays,including 5 adapted from the French well-made plays,they are "Yuncaixia","Huaxinfeng","Fengliuzhai","Xixiangfeng" and "Jinxiaoyu".After the performance,these plays were loved by the public audience and presented a grand performance,which brought great reputation to Li Jianwu.However,these "dazzling" adaptations at that time were ignored by the literary world.On the one hand,due to Li Jianwu’s alienation from mainstream politics,his research is weak.On the other hand,these adapted dramas are regarded as the product of the abnormal prosperity of the dramas in the occupied areas,and are labeled as "commercialized" and "vulgar".In fact,when we enter the adaptation drama,we will find Li Jianwu’s superb adaptation skills.Li Jianwu is proficient in French and can adapt directly from the original French script,which is a direct connection with western literature.His adaptation completely broke through the "exotic color" of the original work and realized the unique "native color of China".In a sense,Li Jianwu’s adaptation practice and achievements not only highlight the era and subjectivity of the writers in the enemy-occupied areas,but also have important value and significance for the development of modern Chinese drama.This paper aims to take the five well-made plays adapted by Li Jianwu as the research object,based on the special era environment of the occupied area,and combining with Li Jianwu’s personal creation experience,grasp Li Jianwu’s adaptation strategy through text comparison,explore the artistic achievements of Li Jianwu’s adaptation works and re-examine the value of its rewriting.The paper mainly consists of the following parts:The first part concerns Li Jianwu’s adaptation behavior as a whole,and analyzes his cultural mentality and adaptation demands under special circumstances.Firstly,it examines the dissemination of well-made plays in China,and then combs Li Jianwu’s creative process and literary activities in Shanghai to grasp Li Jianwu’s creative philosophy and his relationship with the literary world in Shanghai.Then go deep into the historical environment of the occupied area of Shanghai to see through Li Jianwu’s adaptation behavior.In the 1940 s,Li Jianwu,who was living in the occupied area of Shanghai,devoted himself to the tide of commercial dramas in order to make a living while upholding national integrity.His behavior is a token of his special fate in the occupied area of Shanghai,reflecting a distinctive color of the times.The second part,based on the art of drama,discusses Li Jianwu’s inheritance of the drama skills of well-made plays,mainly including five aspects: revealing the "secret" to the audience in advance,the successful setting of the opening play,the elaborate construction of the "necessary scenes",the derivation of big events with small props,and the ingenious use of "sudden change" and "discovery".The ups and downs of a commercial drama are the key to attracting the audience.To this end,Li Jianwu introduced the drama skills of Jiajiaju,which also reflected Li Jianwu’s attention to the stage of drama and his thinking and exploration of the essential issue of "drama".The third part starts with the text and analyzes Li Jianwu’s adaptation strategy of "localization in China".Li Jianwu has made changes to people’s names,place names,times,cultural traditions,stage scenes,and language,deleting the exotic flavor of the original work,and achieving the "sinicization" of foreign works.The fourth part will discuss Li Jianwu’s adaptation on the basis of his adaptation achievements of "Chinese style".First of all,Li Jianwu transplanted the time of the story to the society of the Republic of China to highlight the era characteristics of the play.On this basis,Li Jianwu expressed his concern about the bottom life,his exposure to the dark forces of society,his criticism of the weakness of human nature in modern cities and his implicit political expression through his plays,which greatly strengthened the realism spirit of the play.Secondly,Li Jianwu has created three types of images,namely,fierce women,"depoliticized" men and virtuous supporting role,by rewriting characters.These characters blend with the local people and demonstrate rich national emotions.Finally,Li Jianwu integrated his understanding of human nature and life into the play and fully explored the basis of human nature and the inner feelings of the characters,which to some extent made up for the shortcomings of the original portrayal of human nature.The fifth part discusses Li Jianwu’s absorption and application of traditional elements.Traditional culture plays the role of arousing national emotion and condensing national strength.For this reason,Li Jianwu absorbed the beneficial elements of traditional culture when adapting the names of plays and people.Li Jianwu first introduced traditional operas into the text when he took the method from traditional operas,and formed a contrast relationship between the quoted operas and the development of the theme,characters and plots of the adapted operas,which greatly increased the possibility of drama narration;At the same time,he also drew lessons from the clown images in traditional operas and created two types of images,namely,satirical clowns and eulogical clowns,thus realizing the theater function of "fun" and "thorn" in the drama.The sixth part will discuss the value and significance of Li Jianwu’s rewriting from three dimensions: Li Jianwu’s personal creation,the environment of the enemy-occupied areas and the development process of modern drama art,based on the performance and relevant evaluation of the five adapted plays. |
