情感教育剧:《屈原》的形式与政治

发布时间：2018-01-10 13:01

本文关键词：情感教育剧:《屈原》的形式与政治　出处：《文学评论》2017年02期 　论文类型：期刊论文

【摘要】：《屈原》是郭沫若《女神》之后最为重要的文学作品,也是抗战时期左翼知识分子文化政治实践的重要历史遗产,它试验了以情感为媒介的教育剧形式。戏剧的舞台空间是具有伦理教育和历史教育功能的训谕与美育空间;对传统戏剧表达程式与伦理教化功能的继承,使该剧成为国统区实践毛泽东所倡"中国作风"的代表作;"雷电颂"让戏剧从行动进入抒情,通过对情感体验、蓄积与抒发的演示具体地展示了情感操练的方法:该剧生成的是一种不同于布莱希特"史诗剧"的情感教育剧。情感教育剧的形式,与郭沫若的革命道路和历史哲学密切相关,较之意识形态斗争,他更侧重从社会关系出发的动员式革命,情感动员补充了集体意识的情感维度。
[Abstract]:Qu Yuan is not only the most important literary work after Guo Moruo, but also an important historical heritage of left-wing intellectuals' cultural and political practice during the War of Resistance against Japan. It tests the form of educational drama with emotion as the medium. The stage space of drama is an oracle and aesthetic education space with the function of ethics education and history education. The inheritance of the traditional drama expression mode and the function of ethics education makes the drama become the masterpiece of Mao Zedong's practice of "Chinese style". "Ode to Thunder" allows drama to move from action to lyricism through emotional experience. The demonstration of accumulation and expression concretely shows the method of emotional practice: the drama produces a kind of emotional education drama, which is different from Brecht's "Historical Poetry Drama" and the form of emotional Education Drama. It is closely related to Guo Moruo's revolutionary road and historical philosophy. Compared with the ideological struggle, he focuses more on the mobilization revolution based on social relations, and emotional mobilization complements the emotional dimension of collective consciousness.
【作者单位】：厦门大学台湾研究院;
【分类号】：I207.34
【正文快照】： 抗战时期,与郭沫若就屈原的历史真实性问题展开反复辩论的侯外庐,最终不得不承认,“结果是文学和艺术战胜了史学和哲学。今天,已经抹不去中国人心目中郭沫若所加工的屈原形象”(1)。郭沫若的话剧《屈原》,对他个人而言是《女神》之后的又一文学高峰,就20世纪40年代的左翼文化

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