《甄嬛传》播出十余年来，在国内一直持有较高的讨论度和流传度，成为当代国民文化生活的重要组成部分乃至海峡两岸中华儿女的共同文化记忆。作为一部宫斗题材影视剧，权力是其全局性、核心性命题，不仅操纵着时间、空间、人物等核心的叙事要素，而且是推动情节发展的重要动力。本文借助法国哲学家福柯所提出的“规训权力”对《甄嬛传》的权力叙事进行探讨。后宫中的规训权力在对空间的精细划分中表现出单元性的特点，在对肉体的全面渗透中表现出有机性的特点，在对力量的巧妙排列中表现出组合性的特点。这种权力构建严密的监视网络使人变得驯顺，实施规范化裁决威慑个体，在仪式性的检查中将人“客体化”，并且积极干预生育，将女性作为生育容器以为皇权的传承提供生命载体。尽管在封建后宫中，中心化的皇权是不可忽视的存在，但是各种微观权力关系此消彼长又休戚相关，每个个体都深刻参与其中，共同编织了一张无主体的、流动的权力关系网络。正是这种权力关系的复杂性与可再现性在现代社会的职场、家庭中引发了无数观众的情感共鸣和焦虑代偿。

The Legend of Zhen Huan has been broadcasted for more than ten years, and has always held a high degree of discussion and circulation in China, becoming an important part of contemporary national cultural life.As a palace drama, power is its core proposition, which not only manipulates the core narrative elements such as time, space, and characters, but also is an important driving force to promote the development of the plot. This paper discusses the power narrative of Legend of Zhen Huan with the help of the French philosopher Foucault's “disciplinary power”. The disciplinary power in the harem shows celluar characteristics in the spatial distribution, organic characteristics in the comprehensive penetration of flesh, and combinatory characteristics in the composition of forces. This power builds a tight observation network to make people tame, implements normalizing judgement to deter individuals, objectifies individuals in ritualistic examination, and actively intervenes in procreation, using women as reproductive vessels to provide life carriers for the inheritance of imperial power. Although in the feudal harem, the centralized imperial power is not to be ignored, but the micro power relation has a complicated operation mechanism, and each individual is deeply involved in it, together weaving a non-subjective, fluid power relations network. It is the complexity and reproducibility of this power relationship that triggers the emotional resonance and anxiety of countless viewers in the workplace and family of modern society.