The hero image-building is a perennial maincreation content in contemporary Chinese drama.Before the 1980s, the tragedy of a hero, such as his death, was seldom manifested.Instead, the author preferred to depict his perception of death by describing the death of others to perfect and even sanctify him.The situation has gradually changed since the 1980s.Rather than showing the sublimity and greatness of heroes only, the stage of drama demonstrates their death and tragedy simultaneously.The sorrow of the death and the nostalgia for family and love are presented appropriately when a hero is in a dilemma of whether to accomplish the mission at the cost of life, which further highlights the authenticity of tragic sacrifice.Affected by tragic changes, the realization of the tragic value of heroes has also changed from the image sanctification and romanticization of death to ordinary and humanization, which has increased authenticity and appeal.Especially since the new century, more details of life have been utilized to shape the characters, including the description of personality weaknesses, hence the image of hero is more rounded.The hero’s tragedy becomes more infectious with the trend of trivialization, while the distance between the audience and the stage image is narrowed.Besides, it inspires us to reflect on the intrinsic meaning of life.

话剧《新京梦碎》由伪满皇宫博物院出品,吉林艺术学院和吉林省艾克特戏剧文化传播有限公司承制,于2019年8月15日在伪满皇宫博物院"皇宫剧场"进行首演.该剧全长约两小时,共分为九幕:社稷、父子、夫妻、君臣、万寿、手足、祖宗、伤逝、幻灭,从父子情、夫妻情、知音情、手足情、祖宗情、伤逝情等角度分别讲述了清朝末代皇帝溥仪的一生.以一个人、一座城、一个皇宫、一场梦,将清朝末代皇帝溥仪一生中的高潮节点表现得淋漓尽致.

戏剧、宗教与仪式三者之间有着密不可分的联系."戏剧起源于宗教仪式,但是并不等于戏剧等同于宗教."①宗教在形式上还具有仪式、信仰对象、组织、心理作用等多个特点.由于戏剧起源于宗教仪式,所以戏剧仪式在形式上存在着与宗教仪式并不完全相同但相类似的特征.

小说《杀夫》和电影《杀夫》都是影响广泛的文艺作品.本文对同名小说和电影进行比较研究,通过探讨其在叙事手法、 群体矛盾处理方式、 意象表现和反抗意识表现四方面的异同,分析小说和改编电影各自的优势与缺陷.内容分析结果显示,小说和电影在表现女性的反抗意识方面是相同的,都取得了良好的效果;小说文本在细节感、 反映现实的深刻性方面有得天独厚的长处,电影在视觉冲击力、 艺术表现力方面更胜一筹.