“生命三部曲”：曹禺的心理宣泄与自我确证
发布时间：2018-09-03 06:04
【摘要】：作为中国现代文学史上杰出的戏剧家,曹禺用其一生致力于戏剧演出和话剧创作事业,写有《雷雨》、《日出》、《原野》、《北京人》等多部著名的剧作,塑造了一批令人难忘的人物形象,诸如周繁漪、陈白露、仇虎等。曹禺的戏剧创作以建国之时为分界,可有较为明显的前后期之分,前期作品如《雷雨》、《日出》、《原野》等,后期作品如《明朗的天》、《胆剑篇》、《王昭君》等。其后期创作与前期比较,无论在形式内容方面,还是在创作方法、创作思想方面,都有着较为显著的区别,而前期作品在艺术和思想方面都较后期略胜一筹。正因为此,评论界关于曹禺前期作品的关注远多于后期作品,而他们对其前期话剧有着各种各样的解读,不一而足。究竟作家的创作意图是什么?作品真正的思想内涵是什么?这似乎从作品与时代、社会的复杂关系中难以解释清楚。如今,我们作为研究者来解读曹禺,只是为了走近这位大师,与他进行精神层面上的对话。本文拟从曹禺创作三部话剧的心理切入,分析其创作的原因,探析其创作的心路历程,寻求其剧作的独特性。本文认为曹禺“生命三部曲”的创作是剧作家的心理宣泄与自我确证的过程,话剧的创作是作家内心情感迫切表达的需要,是作家对现实需求的弥补。所以本文以作家创作时的心理为切入点,第一章分析了作家创作前的童年体验以及由此带来的情感创伤,作为其激情创作的重要原因,其中具体分为爱的缺席、归属的困惑、精神的压抑三小节,分别从生母离世、父亲形象、青年经历、个人气质等方面论述曹禺创作前苦闷的原因,表明其创作的动机;第二章通对话剧中的情节、人物等方面的详细解读,分析了作家创作时的心理变化和自我宣泄的过程,共分为三小节,每部话剧为一小节,第一小节论述了作家创作《雷雨》时的郁热性情与挣扎心理,主要包括郁热的性情、燃烧的情感、悲悯的情怀等三方面,第二小节论述的是作家创作《日出》时逃离与愤懑的心态,具体分为光怪陆离的社会、按捺不住的愤怒、呼之欲出的幸福等三小部分,第三小节论述了《原野》中作家郁热性情的回归和写作时狂欢的情绪,具体从“原野”的出场、蛮性的遗留、心灵的狂欢等三方面展开论述;第三章分析了作家通过话剧创作得到的自我确证以及所要表达的精神内涵,分别从自我性格的确认与超越、矛盾情感的体验与表达、生存困境的探寻与追问三部分进行论述,第一节主要论述了作家通过三部话剧得到的对自我性格与精神状态的确证,第二节论述了曹禺对家庭和父亲形象的情感的确证,第三节写出了作家在剧作中展现的人类的三种生存状态:挣扎、凝固、解脱,论述了曹禺剧作中人生困境的表现形式以及试图逃离的方式。
[Abstract]:As an outstanding dramatist in the history of modern Chinese literature, Cao Yu devoted his whole life to theatrical performances and drama creation. He wrote many famous plays, such as thunderstorm, Sunrise, Field, Beijing Man, etc. Created a group of unforgettable characters, such as Zhou Fanyi, Chen Bailu, Qiu Hu and so on. Cao Yu's drama creation is divided by the time of the founding of the people's Republic of China. There are obvious differences between the former works such as thunderstorm, sunrise, field and so on. Later works such as Anacreontic Sky, Dentian Sword, Wang Zhaojun, and so on. Compared with the early stage, there are significant differences in the form content, the creative method and the creative thought, and the works in the early stage are better than the latter in art and thought. Because of this, critics pay more attention to Cao Yu's early works than later works, and they have a variety of interpretations of his early drama. What is the writer's creative intention? What is the real meaning of the work? This seems difficult to explain from the complex relationship between the work and the times and society. Today, we interpret Cao Yu as a researcher to approach the master and engage in spiritual dialogue with him. From the psychological perspective of Cao Yu's creation of three plays, this paper analyzes the causes of his creation, explores his mental course of creation, and seeks the uniqueness of his plays. This paper holds that the creation of Cao Yu's Trilogy of Life is the process of psychological catharsis and self-confirmation of playwrights, and the creation of drama is the urgent need of expressing the writer's inner emotion and the remedy of the writer's demand for reality. The first chapter analyzes the writer's childhood experience before creation and the emotional trauma caused by it, as an important reason for his passion creation, which includes the absence of love and the confusion of attribution. Three sections of spiritual depression, respectively from the death of the birth mother, father image, youth experience, personal temperament and other aspects of Cao Yu before the creation of the depressed reasons, indicating his creative motivation. The author analyzes the psychological changes and the process of self-catharsis in the creation of the writer, which is divided into three sections, each drama is a section, the first section discusses the writer's "thunderstorm" when the depressed temperament and struggling psychology, The second section deals with the writer's mentality of escaping and resentful in the creation of Sunrise, which can be divided into a strange society and an irrepressible anger. The third section discusses the return of the writer's melancholy temperament and the carnival mood when writing in the third section, which discusses the appearance of the "wilderness", the legacy of savage and the carnival of the soul. The third chapter analyzes the self-corroboration and the spiritual connotation which the writer obtains through the drama creation, respectively from the self-character confirmation and the transcendence, the contradictory emotion experience and the expression, the survival predicament exploration and the question carries on the discussion from three parts. The first section mainly discusses the self-character and mental state confirmed by the writer through three plays, and the second section discusses Cao Yu's emotional confirmation of the image of his family and father. In the third section, the author describes the three living conditions of human beings in his plays: struggle, solidification and liberation, and discusses the forms of life predicament and the ways of trying to escape in Cao Yu's plays.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.3
本文编号：2219064
[Abstract]:As an outstanding dramatist in the history of modern Chinese literature, Cao Yu devoted his whole life to theatrical performances and drama creation. He wrote many famous plays, such as thunderstorm, Sunrise, Field, Beijing Man, etc. Created a group of unforgettable characters, such as Zhou Fanyi, Chen Bailu, Qiu Hu and so on. Cao Yu's drama creation is divided by the time of the founding of the people's Republic of China. There are obvious differences between the former works such as thunderstorm, sunrise, field and so on. Later works such as Anacreontic Sky, Dentian Sword, Wang Zhaojun, and so on. Compared with the early stage, there are significant differences in the form content, the creative method and the creative thought, and the works in the early stage are better than the latter in art and thought. Because of this, critics pay more attention to Cao Yu's early works than later works, and they have a variety of interpretations of his early drama. What is the writer's creative intention? What is the real meaning of the work? This seems difficult to explain from the complex relationship between the work and the times and society. Today, we interpret Cao Yu as a researcher to approach the master and engage in spiritual dialogue with him. From the psychological perspective of Cao Yu's creation of three plays, this paper analyzes the causes of his creation, explores his mental course of creation, and seeks the uniqueness of his plays. This paper holds that the creation of Cao Yu's Trilogy of Life is the process of psychological catharsis and self-confirmation of playwrights, and the creation of drama is the urgent need of expressing the writer's inner emotion and the remedy of the writer's demand for reality. The first chapter analyzes the writer's childhood experience before creation and the emotional trauma caused by it, as an important reason for his passion creation, which includes the absence of love and the confusion of attribution. Three sections of spiritual depression, respectively from the death of the birth mother, father image, youth experience, personal temperament and other aspects of Cao Yu before the creation of the depressed reasons, indicating his creative motivation. The author analyzes the psychological changes and the process of self-catharsis in the creation of the writer, which is divided into three sections, each drama is a section, the first section discusses the writer's "thunderstorm" when the depressed temperament and struggling psychology, The second section deals with the writer's mentality of escaping and resentful in the creation of Sunrise, which can be divided into a strange society and an irrepressible anger. The third section discusses the return of the writer's melancholy temperament and the carnival mood when writing in the third section, which discusses the appearance of the "wilderness", the legacy of savage and the carnival of the soul. The third chapter analyzes the self-corroboration and the spiritual connotation which the writer obtains through the drama creation, respectively from the self-character confirmation and the transcendence, the contradictory emotion experience and the expression, the survival predicament exploration and the question carries on the discussion from three parts. The first section mainly discusses the self-character and mental state confirmed by the writer through three plays, and the second section discusses Cao Yu's emotional confirmation of the image of his family and father. In the third section, the author describes the three living conditions of human beings in his plays: struggle, solidification and liberation, and discusses the forms of life predicament and the ways of trying to escape in Cao Yu's plays.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.3
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