“破”与“立”视域中的五四话剧新论

发布时间：2018-06-02 09:58

本文选题：五四话剧 + 现代化　；参考：《山东大学》2017年博士论文

【摘要】：本文的研究对象是五四话剧。文章尝试从五四时期中国话剧"破"与"立"的角度出发,系统考察五四话剧的生成与发展问题。试图阐明在此过程中,五四话剧于戏剧观念、理论生发、剧本创作以及艺术探索等方面为中国话剧的现代化做出的历史贡献及遭遇的历史困境。论文除绪论和结语之外,共分为六个部分。第一章关于"破",主要讨论的是五四话剧创生的基本前提问题,即要在戏剧领域打破旧的营垒,通过对旧戏和文明戏的彻底批判,来为五四话剧的出现开拓必要的空间、谋求历史的合法性。在旧戏批判一节中,论文以时间为线索,详细论述了"新青年派"从舞台形式到思想内容对于旧戏的具体批判内容,同时回顾了在批判过程中由于出发点不同而导致的张厚载与"新青年派"之间错位的论争,这场论争客观上带动深化了旧戏批判的方向与力度,同时也澄清揭示了一些关于中国戏曲的本质特征,不无益处。在文明戏批判一节,则以民众戏剧社成员为主力,聚焦于戏剧的标准问题,以严肃端正的现代戏剧观念来对一味追求利益、自甘低下趣味的堕落的文明戏进行反拨与纠正。其批判视角主要落实于了后期文明戏的旧戏化、商业化与内容趣味等方面。第二章则以探讨五四话剧的"立"为主要内容,这里主要涉及两个问题,一是认识论层面的以"易卜生主义"为标志的现代戏剧观念的确立与方法论层面的现实主义创作理论的探索;二则是具有现代启蒙精神内涵的话剧文本的出现,通过在中国话剧文学现代化转型过程中两部剧作,即南开学校的《新村正》与胡适《终身大事》考察比较,明确了《终身大事》作为中国第一部现代话剧作品的历史地位与意义。第三章是对五四戏剧理论进行了必要的历史考察。五四戏剧理论总体上经历了一个由外来引进到形成独立自我的现代戏剧理论的这样一个过程。第一节关于西方戏剧理论引进的介绍,包括除现实主义以外的各种戏剧思潮、理论的译介,如宋春舫对西方浪漫派、表现派的介绍,田汉对新浪漫主义的思考;冰心、洪深、熊佛西对西方戏剧文学中悲剧、喜剧等基本理论的介绍与研究;宋春舫所呼吁的西方现代剧场理论等等。第二节则主要分析了以陈大悲《爱美的戏剧》为标志的独立自主的现代戏剧理论的生成、以熊佛西与向培良为代表的现代话剧艺术与批评理论的建设。第四章则主要是对五四话剧文本的审视与考察。首先,五四时期的中国现代话剧文学的起步在很大程度上是依赖于对西方近现代戏剧文学的借鉴甚至是模仿来作为原动力进行创作的,通过对西方近现代优秀剧本文学层面的学习逐步达到进行现代剧本的自我创作。因而在这个过程中,就出现了一批有其历史与现实背景的具有时代特殊色彩的模式剧与译编剧作品。其次,五四的社会问题剧则是当时广泛传播并被接受的易卜生主义在话剧文学领域内的直接体现,从艺术与美学追求上看,它秉持的是五四时期对于文学所特别强调的现实主义精神;而从价值理念与主题选择上看,它又服膺于五四所倡导的一系列现代社会的价值观念,是五四时期"为人生"文学的重要组成部分。第五章探讨的则是五四戏剧美学的表现与变化,即话剧艺术的探索。这主要体现在三个方面:一、现代舞台人物形象的确立,其中包括舞台人物形象体系选择上的变化、现实主义描写方法的运用以及典型人物的塑造等;二、是戏剧冲突的"外"转"内",通过五四前后两部《孔雀东南飞》的冲突模式的转变,揭示出五四话剧题材关注视角的转移;三、是戏剧语言的朴素与诗化表现特征,五四前期,话剧需要担负起真实地观照中国社会现实的重任,因而所需要的是客观、直接并且富于戏剧情境所处生活状态的写实性戏剧语言;而随着五四落潮后的文学形势为戏剧美学的调整提供了必要的"土壤",如剧作家群体心态的变化、视角的调整,文学潮流的兴起(如现代派)以及戏剧运动的倡导(如国剧运动)等等,或多或少地促进了话剧艺术创作中的戏剧语言风格的诗化转变。第六章主要论述的是五四话剧现代化所面临的历史困境。困境之一,是五四话剧的政治化倾向,虽然政治化为五四话剧的现代化注入了根本的动力,但在一定程度上又曲解并压倒了五四话剧的现代内涵,并决定着五四话剧艺术的美学认知与探索选择。困境之二,是五四话剧实践的小众化现实,其原因在于五四话剧的现代性内涵及其艺术表现同大众的审美认知与心理定势之间的错位与隔膜、五四剧人对于话剧大众化的认知误区与实践局限以及五四话剧演出的动机与态度问题。困境之三,是五四话剧现代化与民族化的抵牾,其表现在五四时期对于话剧的现代化建构压倒、遮蔽了其应有的民族化诉求,同时还表现在国剧运动派在戏剧民族化问题上的探索对五四话剧现代化造成的消极影响。
[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.
【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：I207.3

【参考文献】