本文首先从余华《活着》的日文版自序中的有关福贵“生活”与“幸存”的辨析出发,从叙述人称入手，比较小说版《活着》与电影、戏剧版《活着》在塑造福贵这一人物形象的过程中由变换人称而带来的“生活”、“幸存”与“存在”之间的分野；其次，三部作品以先锋为纽结，展现了在不同艺术领域展现出的不同的先锋特点；最后，深入电影与戏剧改编时代的文化土壤，探寻改编作品与八九十年代的中国更深层次的内在联系。

Firstly, this paper starts from the analysis of Fugui's "life" and "survival" in the preface of the Japanese version of Yu Hua's Alive. Starting with changes of the narrator's person, the author of the paper compares the distinction between "life", "survival" and "existence" brought about by changing the person in the process of shaping Fugui in the three different versions of Alive.Secondly, the three works take pioneer as the knot, showing different pioneer characteristics in different art fields; Finally, we should look into film and drama adaptation era of the cultural soil, to explore the adaptation of works and China in the 1980s and 1990s deeper internal relations.