A Comparative Study on the Compromise and Struggle Between the False Overlord and the Real Concubine in Farewell My Concubine ——Based on Hegel’s Tragedy Aesthetics

Abstract

In the study of the text Farewell to My Concubine, most of the studies are on the interpretation of different characters and the direction of drama film art and Chinese literature. The author believes that the tragedy of Different characters in the Farewell to My Concubine tragic theory can be used as a novel and necessary research direction. Hegel’s Aesthetics Tragic Theory is based on his philosophical theory. He uses conflict and reconciliation, regarding the generation and solving of tragedy as an aliasing uniform dialectical process, having special historical value and research significance, used to analyze the Farewell to My Concubine, it can enable readers to understand and appreciate the tragedy while producing more profound thinking. The original book embodies the turmoil of the troubled times, the distinct time passages, the span of time. From the melee period at the end of the Qing Dynasty, the anti-Japanese period, to the Kuomintang rule period or the liberation War period, and finally to the Cultural Revolution period, and the new China period. Named after the Peking Opera name, it not only reflects the author Li Bihua’s thinking about the traditional culture represented by Peking Opera, but also contains the emotion about the situation and fate of Peking Opera actors under the changing times. There is also the relationship between ideal and reality, which is often discussed in literature. In the later film remake, director Chen Kaige not only tells the content of the original well, but also uses the contrast of cold and warm colors from a visual point of view; Light intensity and side light and backlight; The joys and sorrows of musical tunes; In different scenes, the closed, framed, and Chinese-style composition, playsing the story alive.