【摘要】：《四世同堂》是老舍以八年抗戰(zhàn)期間淪陷下的北平城為背景創(chuàng)作的長(zhǎng)篇杰作。至今已經(jīng)出現(xiàn)了《四世同堂》的四個(gè)改編作品,即1985年版28集電視連續(xù)劇、2001年版北京曲劇、2009年版37集電視連續(xù)劇和2010年版話劇。各個(gè)版本表現(xiàn)了對(duì)老舍原作的不同解讀,并體現(xiàn)了各個(gè)版本改編當(dāng)時(shí)的時(shí)代意識(shí)。本論文將對(duì)每一個(gè)改編版本的形式和內(nèi)容進(jìn)行分析,并試圖探討各個(gè)版本對(duì)原作的體現(xiàn)以及這些改編版本之間的關(guān)系。 第一章第一節(jié)對(duì)老舍作品的改編情況作整體介紹,并從形式和內(nèi)容兩個(gè)角度探討老舍的很多作品如何獲得文化界的關(guān)注,同時(shí)受到廣大觀眾們歡迎的原因。第二節(jié)將論點(diǎn)集中于《四世同堂》,分析《四世同堂》所具有的與其他抗戰(zhàn)題材作品不同的特點(diǎn),并考察新世紀(jì)以來《四世同堂》尤其受到重視的原因。 第二章分析《四世同堂》的第一個(gè)改編版本,即1985年版電視劇《四世同堂》。該版本作為中國(guó)第一部大型電視連續(xù)劇,得到了很高評(píng)價(jià)。本章通過對(duì)國(guó)家民族意識(shí)的強(qiáng)調(diào)、知識(shí)分子的婚姻問題,以及對(duì)家庭制度與黨派政治的看法等三個(gè)方面,對(duì)1985年版改編中表現(xiàn)的特征進(jìn)行分析。 第三章對(duì)2001年的北京曲劇版《四世同堂》進(jìn)行分析。北京曲劇是新中國(guó)成立后產(chǎn)生的新生劇種,而且這一劇種的命名者就是老舍,因此北京曲劇自從其誕生起和老舍有著密切的關(guān)系。本章從形式和內(nèi)容的兩個(gè)角度,分析北京曲劇版改編中的特征以及對(duì)原作的體現(xiàn)。 第四章研究第二個(gè)電視劇版本,即2009年版“新版”電視連續(xù)劇《四世同堂》。此版本篇幅最長(zhǎng),可以說是在內(nèi)容上最為豐富。本章以對(duì)正面人物的正義性的強(qiáng)調(diào)、反面人物刻劃中的夸張與漫畫化手法,及對(duì)未來的構(gòu)思與希望等三點(diǎn)為論述的重點(diǎn),對(duì)2009年版改編中表現(xiàn)的一些特點(diǎn)進(jìn)行分析。 第五章分析至今出現(xiàn)的《四世同堂》最后的改編版本,即2010年版話劇《四世同堂》。本章集中考察“說書人”角色與演員的臺(tái)詞,以及“跑洋車”手法等該版本所采取的一些獨(dú)特的表現(xiàn)手法,并分析對(duì)人物的塑造和對(duì)觀眾的策略,同時(shí)對(duì)原作的取舍以及對(duì)小說內(nèi)容的改編和體現(xiàn)等方面進(jìn)行分析。
[Abstract]:"four generations together" is a masterpiece written by Lao She against the backdrop of the fall of Peking City during the eight-year War of Resistance against Japan. So far, there have been four adaptations of "four generations together", that is, the 1985 edition of 28 TV series, the 2001 edition of Beijing Opera, the 2009 edition of 37 episodes of TV series and the 2010 edition of drama. Each edition shows different interpretations of Lao She's original works, and reflects the consciousness of the times when each version is adapted. This paper will analyze the form and content of each adaptation, and try to explore the expression of each version of the original and the relationship between these adaptations. The first section of the first chapter introduces the adaptation of Lao She's works as a whole, and discusses from the aspects of form and content, how to get the attention of the cultural circles and the reasons why the works are welcomed by the general audience at the same time. The second section focuses on "four generations together", analyzes the different characteristics of "four generations together" from other anti-Japanese works, and examines the reasons why "four generations together" has been paid more attention to since the new century. The second chapter analyzes the first adaptation of "four generations together", that is, 1985 TV series "four generations together". As the first large-scale TV series in China, this version has been highly praised. This chapter analyzes the characteristics of the 1985 edition through the emphasis on the national consciousness, the marriage of intellectuals, and the views on family system and party politics. The third chapter analyzes the 2001 Beijing Opera Edition "four generations together". Beijing Opera is a new kind of drama after the founding of New China, and the naming of this kind is Lao She. Therefore, Beijing Opera has been closely related to Lao She since its birth. This chapter analyzes the characteristics of the adaptation of Beijing Opera Edition from the two angles of form and content, as well as the embodiment of the original work. The fourth chapter studies the second TV series edition, that is, 2009 edition, the new edition of TV series "four generations together". This version of the longest length, can be said to be the most abundant in the content. This chapter focuses on the emphasis on the justice of the right characters, the exaggeration and caricature in the depiction of the negative characters, and the conception and hope for the future, and analyzes some characteristics of the adaptation of the 2009 edition. The fifth chapter analyzes the final adaptation of "four generations together", that is, the 2010 version of drama "four generations together". This chapter focuses on the characters of the storyteller and the actors' lines, as well as the techniques of "running a foreign car" and some unique expressive techniques, and analyzes the shaping of the characters and the strategies to the audience. At the same time, the author analyzes the selection and selection of the original work and the adaptation and embodiment of the content of the novel.
【學(xué)位授予單位】：北京大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2014
【分類號(hào)】：I207.42;J05

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