论样板戏的角色等级与仇恨视角(下)(国外英语资料).docVIP

论样板戏的角色等级与仇恨视角(下) On the role hierarchy and hatred perspective of Model Operas (below) Three The model play heroes is bound to show a framework provided with its political identity, political identity and understanding is extremely narrow, so the character level model play heavily the consequences of emotional expression and character is a monotone. In the opera, the hero Li Yu and although the family, but did not marry. She and Wu Qinghua could only maintain Comrade relations, and her husband had already died before she appeared. As for seaport and Ode to Longjiang, the protagonists of the two plays Fang Haizhen and the two old womens emotional life of the river and the water are ignored. Only qingsao have a husband, but a Qing has come to Shanghai to do. If it is not surprising that a piece of model opera does not concern the love life or family life, and each model drama is insulated from the love life and family life, this must not let the receiver feel strange. In model opera, not only the hero is the villain, the ascetic, personal emotional life is in the hidden state, originally Shajiabang in Hu Xi Tang section commander married downtown, was deleted in the adaptation. The love between the novel Linhaixueyuan revolutionary soldier spark, female bandits image is vivid, and to the adaptation of the tiger, female bandits disappeared, revolutionary soldiers have become more serious. As for the harbor in the money Shouwei class enemies, Huang Guozhong in Longjiang song bad elements, are out of contact with anyone bachelors. In the model operas, the relationship between men and women is not in the position of being criticized positively, but is banished, concealed and neglected. Sexual love becomes the blind spot that the model drama is most unwilling to face and disdain to face up to. In fact, the revolution and sex are not inherently repulsive, revolution and love of literary works has swept the China 20s and 30s revolution and love the warm once radical revoluti