Abandoning fast food thinking Patiently to the first -aesthetic -the creative idea of the online costume drama "Star Han"

The creation of online costume dramas has always had various attempts: or centered on visual wonders, and diligently seek exquisite shapes and fantasy landscapes; or expressing the male and female protagonist's oaths of the mountain alliance to create a realm of love; The strangeness and inter -cultural nature of the costume drama provides a broad imagination space for creators.

An excellent film and television drama work is first of all the success of literature as the core. The themes, structures, characters, scenes and other elements are not only in line with the effective laws of long -term accumulation of film and television drama creation, but also the author's unique personal perception and elaboration. In this way, the work can not only be appreciated, reconnected, but also satisfy the audience's "education psychology", making the work extremely aesthetically valuable and thoughtful.

The online costume drama "Star Han" is adapted from the novel "Star Han Gel, Fortunately even". The play, there is no pursuit of the pursuit of the harem fighting, nor the pursuit of Jin Ge iron horses, bloody storms. Instead, Cheng Shaoshang, an aristocratic young girl, who has been unaware of his parents for a long time because of his uncle's evil schemes, he has cured each other in love with the young general Ling. Together with the national crisis, the national crisis begins slowly. There are more than a hundred people in the whole play, but hundreds of people, each character has their own unique desires and ways to act, and everyone revolves around the main line of the show, which is constantly affecting or affected. Especially for several nobles and teenagers, Ling is not doubtful, Yuan Shen is outstanding, and Lou Yan is warm and cute. They thought about Cheng Shaoshang's heart, because Cheng Shaoshang was unique, and there was no sorrow. These main characters constitute the main character relationship of "Star Han", and the figures of the characters that are compatible with their mistakes are also magnificent and clear. plot.

This kind of meticulous character creation and complex relationship is the author recognized that it is the "traffic password" of high -quality drama, which shows that the creators' profound understanding of the basic laws of the creation. In particular, the attention of the inner world of the main characters has made the audience gradually penetrate the psychology of focusing on people's psychology from the original psychology of the "family secrets", and then deepen the level of psychology, which adds to the multi -meaning of the text virtually Essence For example, when the character formation of Cheng Shaoshang's unique personality is revealed, the creator pays attention to the influence of native families on the formation of the concept of personal life. Cheng Shaoshang felt that her mother was alienated by herself. After several close efforts, she was very frustrated and helpless, but she was far away from her parents for many years. Practicing those who have been prejudiced to you for a long time, it is better to treat themselves, and look forward to others less, and live more comfortably. The psychological trauma brought by the native family has excluded the trust of others and formed a clear concept of self -interest. However, with her contact with several aristocratic teenagers, especially after being harmful but having a doubtful contact with the same injury when she was young, her concept was constantly revised. The spirit of Ling is not doubtful and the spirit of altruism has made Cheng Shaoshang doubt the principle of herself. When she truly accepted Ling, she also came out of the small corner of her psychology and became to use herself to use herself The talent and ingenuity "inner and outer king", the benefit of others.

This kind of high attention to the changes in the inner world of the character is thought -provided by the author. Li Yu, a writer Li Yu in the late Ming and early Qing dynasties, said that it is not "urgent", but "sleeves in front". "Books in the future", this attitude makes each character's each character, lively and fulfilling, but also non -scattered gold and broken jade, broken beads.

In such a costume drama that integrates the elements of family and youth growth, the author also attaches great importance to these fictional characters and the real life of real life. This is also where the play can quickly develop with the audience. In the play, another female protagonist, who has been living in her aunt's house since she was a child, has always been inferior to her own treacherous and indifferent mother. The aunt who saw her heart enlightened her and said, do n’t feel ashamed when he hear other people ’s unconcerned mother.“ The parents of our suffering are not only physical skin, but also your character. Just learn to follow well. If your parents are inadequate, you will lead to precepts. Remember, your words and deeds are the best accessories on you. " , Don't be afraid of the mountains and the sea, no matter when and wherever they are like a big tree. "扰 The troubles faced are also the influence of another native family, and this enlightenment is the help of how many children who have such psychological heavy pressure. When young audiences with the same sense see here, they must be able to review their lives and attitudes and get the motivation to start.

"Star and Han Splendid" was broadcast on the Internet, but it was not affected by the "fast food culture" and pleased the audience. While creating a visual wonders that conform to the plot, it pays more attention to the polishing of the play itself, especially the gap between the character's thoughts. Exploring, digging, and display make their characters have special aesthetic value. It is this sinking spirit of creative creativeness that makes the play not only widely spread, but also has a constant -length value that can be readable and chewing.

Text/Professor of Film and Television Department of Wuyusu Central Academy of Drama, head of film and television and media Research Center

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