《虎符》接受史研究

发布时间：2018-03-26 17:31

本文选题：《虎符》　切入点：接受史　出处：《西南大学》2017年硕士论文

【摘要】：《虎符》是郭沫若六部抗战历史剧中的第三部,由《史记》中的《信陵君列传》改编而成,写如姬为信陵君“窃符救赵”的故事。它应时代的洪流而生,带有强烈的政治色彩。随着时间的推移,人们对《虎符》接受的政治色彩逐渐变淡,着重点逐渐转移到艺术本身,内涵也愈加丰富,逐渐确立了其经典地位。《虎符》的接受情况,表现在改编(包括作者自己的修改)、演出、研究等多方面,且阶段性比较明显。由其接受情况的特点来看,可以将其分为抗日战争时期、解放战争时期、十七年建设时期和粉碎“四人帮”以后四个阶段。本文除去引言和结语,正文部分将按照这四个阶段分为四章,每章再从演出、剧本研究、改编等入手分为小节,阐述每个阶段《虎符》的接受情况和变化,了解背后的原因,并结合接受美学的相关理论进行分析。抗战时期,《虎符》的接受与当时中国的政局联系密切,政治性较强。演出地点主要集中在国共两党的政府所在地重庆和延安。在重庆进行的首演是此阶段影响最大的一次演出,引起了极大的反响。剧本研究很少,只是在“把人当成人”的主题和主要人物形象研究方面进行了初探。团结抗日的首要性,使得《虎符》中隐含的对国民党的批判在此时并没有引起重视,甚至是刻意回避。解放战争时期,国内的主要矛盾发生变化,《虎符》中批判国民党的因素引起人们重视,这在演出、改编等方面都有明显的表现。1947年祖国北工剧团在京津两地的演出和1948年文化大会堂的演出是此阶段影响较大的两次演出,地域扩大到北京、天津以及石家庄等地。郭沫若对剧本进行了第一次大规模的修改,将剧本里面的暗射对象进一步丑化。在这两个阶段里,《虎符》的接受情况存在着共性,整体呈现演出为主、研究为辅的状态。十七年建设时期,仍然以演出为主,研究为辅,且具有较强的政治性,只是此时的政治性是对《虎符》故事的借用,脱离了郭沫若创作《虎符》的初衷。重要的演出有用以支持抗美援朝的《信陵公子》的演出,人艺为配合文化建设借鉴戏曲因素进行的民族化探索,东风剧团带有“反修反霸”意味的豫剧演出等。演出地域进一步扩大,甚至传到国外。剧本方面,郭沫若又做了一次较大规模的修改,重点放在语言的口语化方面。研究进一步拓展,和前期的探索一起为后面研究的多元化做了铺垫。粉碎“四人帮”以后,《虎符》的接受重心转向研究领域,呈现研究为主、演出为辅的状态。演出和研究的侧重点,也由对其所蕴含意义的挖掘向艺术本身偏移,且政治性削弱。演出的目的以纪念性和对经典的演绎为主,研究呈现多元化状态。其中的教育意义也得到大力发掘,包括其中形象、精神的美育作用以及蕴含的文史知识等。《虎符》是一部时代性极强的作品,在整个接受历程中,表现出了其极强的适应性。
[Abstract]:"Tiger Fu" is the third of Guo Moruo's six historical dramas of the War of Resistance against Japan. It is based on the Story of the Xin Lingjun in the Book of History, and is written as the story of "stealing charms to save Zhao" by Ji. It was born in response to the current of the times. With a strong political color. With the passage of time, the political color accepted by people gradually faded, the emphasis gradually shifted to the art itself, and the connotation became more and more abundant. Gradually established its classical status. The acceptance of "Tiger Fu" is manifested in the adaptation (including the author's own modification, performance, research, etc.), and the stage is obvious. It can be divided into four stages: the period of the War of Resistance against Japan, the period of the War of Liberation, the period of seventeen years of construction and the period of crushing the Gang of four. Apart from the introduction and conclusion, the text of the text will be divided into four chapters according to these four stages, each chapter of which will be performed again. The script research, adaptation and so on are divided into sections to explain the acceptance and changes of "Tiger Fu" in each stage, and to understand the reasons behind it. During the War of Resistance against Japan, the acceptance of Tiger Fu was closely related to the political situation in China at that time. The performance was mainly in Chongqing and Yan'an, the seat of government of the Kuomintang and the Communist Party. The premiere in Chongqing was the most influential performance at this stage, which caused great repercussions. It is only in the study of the theme of "treating people as people" and in the study of the main characters that the primacy of unity and resistance against Japan has made the implied criticism of the Kuomintang in "Tiger Fu" go unnoticed at this time. Even deliberately evasive. During the War of Liberation, the main contradictions in the country changed, and the factors that criticized the Kuomintang in "Tiger Fu" attracted people's attention. The performances of the Beigong Opera Troupe in Beijing and Tianjin in 1947 and the Cultural Hall in 1948 were the two most influential performances at this stage, and the territory was expanded to Beijing. Tianjin, Shijiazhuang and other places. Guo Moruo made the first large-scale revision of the script, further uglifying the hidden targets in the script. In these two stages, the acceptance of the "Tiger Fu" has a common character, and the overall presentation of the play is mainly based on the performance. During the 17-year construction period, performance was still the main factor, and research was secondary, and it had a strong political character, except that the political nature of this time was a borrowing of the story of the Tiger Fu. Divorced from the original intention of Guo Moruo's creation of "Tiger Fu". The important performances were useful to support the performance of the "Xinling Gongzi", which was resistant to US aggression and aiding the DPRK, and to explore the nationalization of the human arts in order to coordinate with the cultural construction and draw lessons from the elements of the opera. The Dongfeng Drama Troupe performed in Henan Opera with the sense of "opposing rectification and anti-hegemonism". The performing area was further expanded and even spread abroad. In terms of the script, Guo Moruo made another large-scale revision. The emphasis is on the colloquial aspect of language. The further development of the research, together with the earlier exploration, paves the way for the diversification of the later studies. After the Gang of four was smashed, the acceptance center of the Tiger Fu turned to the research field and presented the research as the main body. The emphasis of performance and research is also shifted from the excavation of its meaning to the art itself, and political weakening. The purpose of the performance is to commemorate and deduce the classic. The educational significance of the study has also been greatly explored, including the image, the aesthetic function of the spirit and the knowledge of literature and history. It shows its strong adaptability.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.3

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