Comrade Besieged on All Sides Recurred

----LiBihua and ChenKaige’s Adaption for “Farewell My Concubine”

Pecking Opera was named and constructed as the quintessence of Chinese Culture, which ascended to the historical moment when the center of world set up by Qing dynasty was destroyed by foreign guns and cannons, it was also the period of modernity occurred in China. “Farewell My Concubine” would have only been a Pecking Opera repertoire appeared late till the time in Republic of China, however, its subject inherited national “Ego Ideal” faithfully without a second idea, which affected the constant adaption and transmission referred to it as motif deeply during 20^th century. “Farewell My Concubine” has taken a position in confrontation and negotiation between national discourse and personal discourse for 100-year, and most adaption works came to the end that the former discourse hegemony overwhelmed the later invoice. With the development of this classic opera adapted by LiBihua and ChenKaige in the end of 20^th century, there existed a possibility of new game and match between the two discourses. The narcissism and remnant attachment mechanism in national masculinity played an important role which couldn’t be ignored. Besides, this game generated a “saw” between “female narcissism” in LiBihua’s original novel and “male attachment” in ChenKaige’s film. This paper debates similarities and differences on the original novel (three different versions) and film in detail, meanwhile, it points out this two texts kept to two extremes of “overhead history” and “excessive history”, then how did they resort to “same-sex love” to shelter comrade which was besieged on all sides from embarrassing existence.