發(fā)布時間：2018-06-02 09:58

  本文選題：五四話劇 + 現(xiàn)代化　； 參考：《山東大學(xué)》2017年博士論文

【摘要】：本文的研究對象是五四話劇。文章嘗試從五四時期中國話劇"破"與"立"的角度出發(fā),系統(tǒng)考察五四話劇的生成與發(fā)展問題。試圖闡明在此過程中,五四話劇于戲劇觀念、理論生發(fā)、劇本創(chuàng)作以及藝術(shù)探索等方面為中國話劇的現(xiàn)代化做出的歷史貢獻(xiàn)及遭遇的歷史困境。論文除緒論和結(jié)語之外,共分為六個部分。第一章關(guān)于"破",主要討論的是五四話劇創(chuàng)生的基本前提問題,即要在戲劇領(lǐng)域打破舊的營壘,通過對舊戲和文明戲的徹底批判,來為五四話劇的出現(xiàn)開拓必要的空間、謀求歷史的合法性。在舊戲批判一節(jié)中,論文以時間為線索,詳細(xì)論述了"新青年派"從舞臺形式到思想內(nèi)容對于舊戲的具體批判內(nèi)容,同時回顧了在批判過程中由于出發(fā)點不同而導(dǎo)致的張厚載與"新青年派"之間錯位的論爭,這場論爭客觀上帶動深化了舊戲批判的方向與力度,同時也澄清揭示了一些關(guān)于中國戲曲的本質(zhì)特征,不無益處。在文明戲批判一節(jié),則以民眾戲劇社成員為主力,聚焦于戲劇的標(biāo)準(zhǔn)問題,以嚴(yán)肅端正的現(xiàn)代戲劇觀念來對一味追求利益、自甘低下趣味的墮落的文明戲進(jìn)行反撥與糾正。其批判視角主要落實于了后期文明戲的舊戲化、商業(yè)化與內(nèi)容趣味等方面。第二章則以探討五四話劇的"立"為主要內(nèi)容,這里主要涉及兩個問題,一是認(rèn)識論層面的以"易卜生主義"為標(biāo)志的現(xiàn)代戲劇觀念的確立與方法論層面的現(xiàn)實主義創(chuàng)作理論的探索;二則是具有現(xiàn)代啟蒙精神內(nèi)涵的話劇文本的出現(xiàn),通過在中國話劇文學(xué)現(xiàn)代化轉(zhuǎn)型過程中兩部劇作,即南開學(xué)校的《新村正》與胡適《終身大事》考察比較,明確了《終身大事》作為中國第一部現(xiàn)代話劇作品的歷史地位與意義。第三章是對五四戲劇理論進(jìn)行了必要的歷史考察。五四戲劇理論總體上經(jīng)歷了一個由外來引進(jìn)到形成獨(dú)立自我的現(xiàn)代戲劇理論的這樣一個過程。第一節(jié)關(guān)于西方戲劇理論引進(jìn)的介紹,包括除現(xiàn)實主義以外的各種戲劇思潮、理論的譯介,如宋春舫對西方浪漫派、表現(xiàn)派的介紹,田漢對新浪漫主義的思考;冰心、洪深、熊佛西對西方戲劇文學(xué)中悲劇、喜劇等基本理論的介紹與研究;宋春舫所呼吁的西方現(xiàn)代劇場理論等等。第二節(jié)則主要分析了以陳大悲《愛美的戲劇》為標(biāo)志的獨(dú)立自主的現(xiàn)代戲劇理論的生成、以熊佛西與向培良為代表的現(xiàn)代話劇藝術(shù)與批評理論的建設(shè)。第四章則主要是對五四話劇文本的審視與考察。首先,五四時期的中國現(xiàn)代話劇文學(xué)的起步在很大程度上是依賴于對西方近現(xiàn)代戲劇文學(xué)的借鑒甚至是模仿來作為原動力進(jìn)行創(chuàng)作的,通過對西方近現(xiàn)代優(yōu)秀劇本文學(xué)層面的學(xué)習(xí)逐步達(dá)到進(jìn)行現(xiàn)代劇本的自我創(chuàng)作。因而在這個過程中,就出現(xiàn)了一批有其歷史與現(xiàn)實背景的具有時代特殊色彩的模式劇與譯編劇作品。其次,五四的社會問題劇則是當(dāng)時廣泛傳播并被接受的易卜生主義在話劇文學(xué)領(lǐng)域內(nèi)的直接體現(xiàn),從藝術(shù)與美學(xué)追求上看,它秉持的是五四時期對于文學(xué)所特別強(qiáng)調(diào)的現(xiàn)實主義精神;而從價值理念與主題選擇上看,它又服膺于五四所倡導(dǎo)的一系列現(xiàn)代社會的價值觀念,是五四時期"為人生"文學(xué)的重要組成部分。第五章探討的則是五四戲劇美學(xué)的表現(xiàn)與變化,即話劇藝術(shù)的探索。這主要體現(xiàn)在三個方面:一、現(xiàn)代舞臺人物形象的確立,其中包括舞臺人物形象體系選擇上的變化、現(xiàn)實主義描寫方法的運(yùn)用以及典型人物的塑造等;二、是戲劇沖突的"外"轉(zhuǎn)"內(nèi)",通過五四前后兩部《孔雀東南飛》的沖突模式的轉(zhuǎn)變,揭示出五四話劇題材關(guān)注視角的轉(zhuǎn)移;三、是戲劇語言的樸素與詩化表現(xiàn)特征,五四前期,話劇需要擔(dān)負(fù)起真實地觀照中國社會現(xiàn)實的重任,因而所需要的是客觀、直接并且富于戲劇情境所處生活狀態(tài)的寫實性戲劇語言;而隨著五四落潮后的文學(xué)形勢為戲劇美學(xué)的調(diào)整提供了必要的"土壤",如劇作家群體心態(tài)的變化、視角的調(diào)整,文學(xué)潮流的興起(如現(xiàn)代派)以及戲劇運(yùn)動的倡導(dǎo)(如國劇運(yùn)動)等等,或多或少地促進(jìn)了話劇藝術(shù)創(chuàng)作中的戲劇語言風(fēng)格的詩化轉(zhuǎn)變。第六章主要論述的是五四話劇現(xiàn)代化所面臨的歷史困境。困境之一,是五四話劇的政治化傾向,雖然政治化為五四話劇的現(xiàn)代化注入了根本的動力,但在一定程度上又曲解并壓倒了五四話劇的現(xiàn)代內(nèi)涵,并決定著五四話劇藝術(shù)的美學(xué)認(rèn)知與探索選擇。困境之二,是五四話劇實踐的小眾化現(xiàn)實,其原因在于五四話劇的現(xiàn)代性內(nèi)涵及其藝術(shù)表現(xiàn)同大眾的審美認(rèn)知與心理定勢之間的錯位與隔膜、五四劇人對于話劇大眾化的認(rèn)知誤區(qū)與實踐局限以及五四話劇演出的動機(jī)與態(tài)度問題。困境之三,是五四話劇現(xiàn)代化與民族化的抵牾,其表現(xiàn)在五四時期對于話劇的現(xiàn)代化建構(gòu)壓倒、遮蔽了其應(yīng)有的民族化訴求,同時還表現(xiàn)在國劇運(yùn)動派在戲劇民族化問題上的探索對五四話劇現(xiàn)代化造成的消極影響。
[Abstract]:The object of this study is 54 dramas. The article tries to systematically examine the generation and development of the 54 plays from the angle of "breaking" and "standing" in the 54 period of Chinese drama, trying to clarify that in the process, 54 plays have been made for the modernization of Chinese drama in aspects of drama, theory, script creation and art exploration. In addition to the introduction and conclusion, the thesis is divided into six parts. The first chapter is about "breaking", mainly discussing the basic premise of the creation of 54 dramas, that is, to break the old barracks in the field of drama, and to open up the necessary emptiness for the emergence of the 54 plays through the criticism of the old and civilized operas. In the one section of the critique of the old opera, the paper expounds the specific critical content of the "New Youth school" from the stage form to the ideological content in the time as a clue, and reviews the controversy over the dislocation between the thick load and the "New Youth school" caused by different starting points in the process of criticism. Objectively, it deepens the direction and strength of the critique of the old opera, and also clarifies some of the essential features of the Chinese opera. In the critical section of the civilized drama, the standard of the drama is focused on the members of the public drama society, and the pursuit of interest by the solemn and correct modern drama concept is low. In the second chapter, the second chapter mainly deals with the "erect" of the 54 dramas, which mainly involves two problems, one is the modern play marked by "Ibsen doctrine" in epistemology. The establishment of the concept of drama and the exploration of realistic creation theory on the level of methodology; the two is the emergence of the drama text with the connotation of modern enlightenment. Through the comparison of the two plays in the transformation process of modern Chinese drama literature, that is, the new village in Nankai school and Hu Shi's great affair of life, it is clear that the "end of the life" is the middle part of the drama. The historical status and significance of the first modern drama of the country. The third chapter is the necessary historical investigation of the 54 drama theory. The 54 drama theory has experienced a process of modern drama theory from foreign introduction to the formation of independent self. The introduction of the introduction of Western drama theory in the first section, including the introduction of the first section of the drama theory, includes the introduction of the first section of the drama theory. Various theatrical trends of thought other than realism, such as the introduction of Song Chunfang to the Western romantics, the expressionism, Tian Han's thinking about the new romanticism, the introduction and research of Bing Xin, Hong Shen, Xiong Fusi's basic theories of tragedy and comedy in Western theatrical literature, the western modern theater theory called by the song Chun Fang, and so on. The second section This paper mainly analyzes the creation of the independent modern drama theory marked by Chen Da Mu "the drama of love beauty" and the construction of modern drama art and criticism theory represented by Xiong Xi and Xiang Peiliang. The fourth chapter is mainly to examine and inspect the text of the 54 drama. First, the beginning of the Chinese modern drama literature in the 54 period is in the beginning. To a great extent, it is dependent on the creation of the western modern drama literature and even imitation as the motive force. Through the study of the excellent literary level of modern western modern plays, the self creation of modern plays is gradually achieved. In this process, a number of historical and realistic backgrounds have emerged. Secondly, 54 of the social problem plays are the direct embodiment of the widely spread and accepted Ibsen doctrine in the field of drama literature at that time. From the view of the pursuit of art and aesthetics, it holds the spirit of realism especially emphasized in the literature in the 54 period, and from the value concept. In terms of the choice of the theme, it is also convinced of the values of a series of modern society advocated by the 54. It is an important part of the "life for life" literature in the 54 period. The fifth chapter is the expression and change of the 54 drama aesthetics, that is, the exploration of the art of drama. The main body is now three aspects: first, the character image of the modern stage is true. It includes the changes in the selection of the image system of the stage figures, the use of the realistic description method and the molding of the typical characters, and the two is the "outside" of the drama conflict, through the change of the conflict mode of the two "Peacock Flying Southeast" in the front and back of the 54, and the transfer of the perspective of the 54 Drama Themes; and three, the simple drama language. In the early 54, the drama needs to take the responsibility of truly observing the reality of Chinese society, so what is needed is a realistic drama language, which is objective, direct and rich in the state of life in the dramatic situation; and with the literary situation after the 54 falling tide, the necessary "soil" is provided for the adjustment of drama aesthetics, such as drama. The changes in the psychology of the writers, the adjustment of the angle of view, the rise of the literary trend (such as modernist school) and the advocacy of the dramatic movement (such as the national drama movement), etc., have more or less promoted the poetic transformation of the dramatic language style in the art creation. The sixth chapter mainly deals with the historical dilemma faced by the modernization of the 54 dramas. It is the political tendency of the 54 plays. Although the politicization has injected the fundamental impetus into the modernization of the 54 dramas, to a certain extent, it distorts and overwhelms the modern connotations of the 54 plays, and determines the aesthetic cognition and exploration choice of the art of the 54 plays. The two is the small reality of the practice of the 54 drama, and the reasons for it The modernity connotation of the 54 plays and its artistic expression are the dislocation and diaphragm between the aesthetic cognition and psychological setting of the public. The 54 dramatists have the cognitive misunderstandings and practical limitations on the popularization of the drama, and the motivation and attitude of the 54 plays. The dilemma is the contradiction between the modernization of the 54 dramas and the nationalization of the drama, which is manifested in the expression of the contradiction between the modernization of the drama and the nationalization of the 54 plays. In the 54 period, the modernization of the drama was overwhelmed, covering the demands of its nationalization. At the same time, it also showed the negative influence of the exploration of the national drama movement on the modernization of the 54 dramas.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：I207.3

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相關(guān)期刊論文 前1條

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本文編號：1968346