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乍初看到方朝晖的《秋闱风云》时很是激动了一下,以为会看到曹寅的戏——史学家早已确定了他在这场有名的重大江南科场案件中所起到的作用——可以堂而皇之地探讨一下康熙与曹寅一生羁绊的历程。然而,编剧连出场的机会都没有给曹寅,只让他在康熙的言语中极其吝啬地出现了三次,以推进情节顺利展开。方朝晖写戏变得“狡猾”了,不再是昔日王评章笔下说的:“朝晖的戏剧世界有他的浓厚的内心世界倒影:透明、自苦”;他不仅不再写曹寅这样的包衣文人,
At first glance, when I saw Fang Zhaohui’s “Autumn Storm”, I thought I could see Cao Yin’s play - historians have already confirmed what he had done in this famous case of Jiangnan Section Role - can be generous to explore the bond between Kangxi and Cao Yin life bond. However, the writer did not even give Cao Yin a chance to appear on the scene and only made him appear extremely misunderstood three times in Kangxi’s speech in order to promote the smooth development of the plot. Fang Zhaohui writing becomes “cunning ”, and is no longer the old king said: “The dramatic world of Zhaohui has his inner reflection in his heart: transparent, self-suffering”; he not only no longer Written writers such as Cao Yin,