不是不能或不可以超越,而是你不能不遵循曹雪芹的美学规范去“倚声度曲”,在相对有限的范围内去追求二度创作的最佳自由,这一点至少在文学剧本的创作意识上应当很明确自觉。否则,你的“自由改动”,就难免在大刀阔斧的勇气之中带上始料不及的主观随意性,以致 消弱原著的艺术魅力。 因为她的性格与思想情感有一个发展过程,并非一进贾府就感受到了寄人篱下的凄楚和风刀霜剑的威逼,因为那时她还深受贾母的宠爱,她与宝玉在步入爱情萌芽期之前,也可不落入“一见钟情”的旧套。 ——见《苦涩的辉煌》中《梦系红楼》一文 It is not that you can not or can not surpass it. Instead, you can not follow Cao Xueqin’s aesthetic norms to “rely on humility” and pursue the best freedom of second-degree creation within a relatively limited scope, at least in the creative sense of literary script It should be very clear and conscious. Otherwise, your “freedom to change” will inevitably boldly bring unexpected courage among the subjective arbitrary, so weakening the original artistic charm. Because of her character and thoughts and emotions have a development process, not just enter the government feel the desperation of the desolate tyrannical knife frost sword, because at that time she also loved by Jiamu, she and Baoyu in love bud Before, can not fall into the “love at first sight” old fashioned. See the “bitter glory” in the “dream of the Red Chamber” article