论李少红电视剧的女性叙事与问题限定

On the Feminine Narrative and Localization of Problems in Li Shaohong's Teleplays

李少红是中国女性导演中女性意识较为成熟与自觉的一位。她的《大明宫词》通过武则天、太平公主形象的成功塑造,在历史的解蔽和审美吁求中实现了女性本真精神的创造性还原。电视剧改编是反抗和消解男权叙事的方法之一,但这种依托男性文本的女性制衡策略在有效性与有限性方面同样明显。比如对《雷雨》的改编,在女性意识的极力张扬中仍然潜伏着难以抹除的男权话语的痕迹。

Li Shaohong is one of the Chinese female directors with mature female consciousness. Her masterpiece The Palace of Desire, through the successful roles of Wu Zetian and Princess Taiping, realizes the revivification of true feminine spirit in the uncovering of history and gratification of aesthetic needs. Adaptation into teleplays is one of the ways of protesting against and demolishing male power narrative; however, this balancing strategy of females by relying on male texts is as efficient as it is limited. Take the adaptation of Thunderstorm for example, in the uplifting of female consciousness there still exist inerasable traces of male power discourse.