《聊斋志异》是蒲松龄创作的文言短篇小说集，《聂小倩》作为《聊斋志异》世界中非常有代表性的一篇作品，其中聂小倩、宁采臣、燕赤霞等形象深入人心，故事情节跌宕起伏，深受不同年代观众的喜爱。 近些年来，针对《聂小倩》的改编作品层出不穷，其中有深受好评的佳作，也有为人诟病的劣质作品。基于现代思考下的古典文学作品改编，在改编过程中小说的情节、人物、背景、情境会有很大的变化，古典文学作品的现代化改编，必然会根据当下市场和受众的情况进行一定的修改，如增加穿越、虚幻或现代化的处理。那这种现代化的处理，其边界在哪里？我们所谓的“尊重原著”，不可以戏说，那如何在“尊重”的基础上实现创新性的改编，让观众接受并喜爱，这是当下改编名著遇到的问题。反而观之，作品改编会对文学作品的传播产生哪些影响？这是也本文所想要探究的问题。 话剧《兰若寺》是2018年基于《聂小倩》原著改编的一个以多媒体话剧为呈现形式的作品。《兰若寺》在《聂小倩》的基础上，借鉴了同题材戏剧、戏曲、音乐剧、影视剧等作品的文本和表现手法，通过对主题、剧情、人物、风格、舞台和音乐舞蹈的创新，融入了当代思考和现代多种元素，将中国传统文化中鬼神元素、古典音乐、舞蹈和话剧的艺术形式进行了结合，最终以多媒体话剧的形式展现，获得了良好的评价。在创作过程中，我们也发现针对经典文学作品改编的同时，也需要注意如何运用中国古代文学中虚实结合的元素，来弘扬当代人文思辨的精神，创作出能够被当代观众所接受的古风古韵的作品，这是当代文艺工作者所共同需要思考的问题。 本文也本着从话剧《兰若寺》的改编实践出发，将改编创作演出中所汲取到的经验提取出来，针对目前的改编名著作品提出思考，总结经验，为后续的改编方式提供有效途径。

Strange Stories from a Chinese Studios is a collection of short stories in classical Chinese written by Pu Song ling, a literati living in the Qing Dynasty. The stories are bizarre and colorful, and the characters are delicately and abundantly portrayed. It creates an absurd world connected with the real world. Those bizarre style attracts readers deeply. Over the past two hundred years, Strange Stories from a Chinese Studios has become an important source of themes for various arts with its own charm. Nie Xiaoqian is one of the most representative works in the world of Strange Stories from a Chinese Studios. Nie Xiaoqian, Ning Caichen, Yan Chixia and Tree Demon are deeply loved by audiences in different times. Recently, there have been a lot of works adapted from Nie Xiaoqian, some of which are well received and some of which are criticized as inferior works. Based on the adaptation of classical literary works under modern thinking, there will be great changes in the plot, characters, background and situation of the novel in the process of adaptation. The modernization of the adaptation of classical literary works will inevitably be modified according to the current market and audience conditions, such as increasing the handling of traversing, illusion or modernization. Where is the boundary of this modern treatment? What we call "respecting the original works" cannot be joked about. How to achieve innovative adaptation based on "respecting" and let the audience accept and love it is the problem encountered in the current adaptation of masterpieces. On the contrary, what is the impact of adaptation on the dissemination of literary works? This is also the question that this article wants to explore. Lanruo Temple is a multi-media drama based on Nie Xiaoqian in 2018. On the basis of Nie Xiaoqian, it integrates contemporary thinking and modern pluralism, combines the elements of ghosts and gods, classical music, dance and drama in traditional Chinese culture, and finally presents them in the form of multi-media drama. This article will also put forward some thoughts on the experience in the adaptation of the drama, and summarize the experience in view of the current adaptation of the masterpieces, so as to provide an effective way for the subsequent adaptation.