“国剧运动”及其写意戏剧观

发布时间：2019-02-13 20:31

【摘要】： 发生在二十世纪二十年代的“国剧运动”是中国现代戏剧变革中一次重要的改革尝试。它伴随着五四新文化运动狂飙突进的批判传统、崇尚西化的大趋势,敢于冒天下之大不韪,以其独特的中西戏剧比较的视角,致力于创建中华新戏剧——“国剧”。“国剧运动”倡导将中国传统戏曲写意性与西方现代话剧的写实性融为一体的写意话剧观,在中国戏剧民族化探索道路上迈出了坚实一步,对在此之后中国戏剧民族化探索提供了莫大的启示性。论文梳理了“国剧运动”发生的时代背景、运动始末以及倡导的主要戏剧理念。在此基础上,将论述重点放在“国剧运动”的写意戏剧观以及这种戏剧观对中国戏剧民族化探索的启示作用。论文试图呈现“国剧运动”所处的真实历史情境,以客观公允的研究态度观照“国剧运动”的写意戏剧观及其影响,以期重新评估其历史意识和文学价值。论文由绪论、正文和结语三部分组成。绪论主要说明“国剧运动”及其写意戏剧观的研究意义、研究现状。论文正文部分详细论述“国剧运动”及其写意戏剧观,并对“国剧运动”戏剧观影响下的种种戏剧民族化形式的探索进行阐释。第一部分主要是阐述“国剧运动”发生的时代背景和兴衰过程。“国剧运动”在五四新文化运动激烈反传统的历史语境中,与格律诗运动一起开始反思五四,回归传统。它是由一群美国戏剧留学生在看到中西戏剧艺术不同特质之后发起的,并提出了很多独特的戏剧理念,但终因残酷的时代走向了悲剧性的结局。第二部分主要阐释“国剧运动”的写意戏剧观。“国剧运动”的主要历史功绩在于创建中华新戏剧——“国剧”,那么什么是“国剧”,如何创建“国剧”成为“国剧运动”的探讨重点。“国剧运动”在对中国传统戏曲进行重新评价之后,确认了中国传统戏曲的写意性特征,并在中西戏剧艺术特色比较基础上,提出了糅合中西,兼并写意与写实,创建具有中国民族特色的写意话剧观。第三部分主要论述“国剧运动”的写意戏剧观对之后的中国戏剧民族化探索的启示作用。承接“国剧运动”的戏剧理念,与之同时期的田汉主持的“南国社”打出“新国剧运动”的旗帜;稍后,“国剧运动”主要干将熊佛西在河北定县进行“农民话剧”实践;之后四十年代焦菊隐在“话剧民族化”大讨论中提出话剧应向传统戏曲借鉴和学习的见解,到了五六十年代黄佐临明确提出“写意戏剧观”并付诸演剧实践,都展现出“国剧运动”及其戏剧理念对中国戏剧现代化建设做出的不朽贡献。结语部分在总结全文内容的基础上,对“国剧运动”做出了客观评价,以期引起当代学术界对它的关注,同时也为“国剧运动”能进一步被认识、被重视、被重估提供参考价值。
[Abstract]:The National Opera Movement, which took place in the 1920s, is an important reform attempt in the reform of modern Chinese drama. It is accompanied by the criticism tradition of the May 4th New Culture Movement, advocates the westernization trend, dares to risk the universal condemnation, and devotes itself to the creation of the Chinese New Drama, "National Drama" with its unique angle of view of the comparison between Chinese and Western dramas. The "Chinese Opera Movement" advocates the idea of combining the freehand brushwork of Chinese traditional opera with the realism of modern western drama, and takes a solid step forward in exploring the nationalization of Chinese drama. It provides great enlightenment to the exploration of nationalization of Chinese drama after this. The paper combs the background of the occurrence of the "National Opera Movement", the beginning and end of the movement and the main theatrical ideas advocated. On this basis, the author puts emphasis on the freehand brushwork drama view of the "National Opera Movement" and its enlightening effect on the exploration of nationalization of Chinese drama. This paper attempts to present the real historical situation of the "National Opera Movement", and to take an objective and fair attitude to study the "National Opera Movement" 's view of freehand brushwork drama and its influence, in order to re-evaluate its historical consciousness and literary value. The paper consists of three parts: introduction, text and conclusion. The introduction mainly explains the significance and current situation of the study of the National Opera Movement and its view of freehand brushwork drama. The main part of the thesis discusses the "National Opera Movement" and its freehand brushwork drama view in detail, and explains the exploration of various forms of nationalization of drama under the influence of the "National Opera Movement" drama view. The first part mainly expounds the historical background and the process of rise and fall of the National Opera Movement. In the historical context of the May 4th New Culture Movement, the "National Opera Movement" began to reflect on the May 4th Movement and return to tradition together with the Movement of rhyming Poems. It was initiated by a group of American drama students after seeing the different characteristics of Chinese and Western dramatic arts, and put forward many unique dramatic ideas, but it finally moved to a tragic end because of the cruel times. The second part mainly explains the view of freehand brushwork drama in the National Opera Movement. The main historical achievement of the "Chinese Opera Movement" lies in the creation of the Chinese New Drama, "the State Drama", so what is the "National Opera", and how to create the "National Opera" becomes the focus of the "National Opera Movement". After reappraising the traditional Chinese opera, the "Chinese Opera Movement" confirms the freehand brushwork characteristics of the Chinese traditional opera, and on the basis of the comparison of the artistic characteristics of the Chinese and the western drama, it puts forward a combination of the Chinese and the Western, the combination of freehand brushwork and realism. To create a view of freehand brushwork drama with Chinese national characteristics. The third part mainly discusses the enlightenment effect of the freehand brushwork drama view on the exploration of nationalization of Chinese drama. To undertake the drama concept of the "National Opera Movement", the "Southern Society" presided over by Tian Han in the same period played the banner of the "New National Opera Movement"; later, the "National Drama Movement" was mainly carried out by GanJiang Xiong Foxi in Dingxian County, Hebei Province, where he carried out the practice of "Farmer's Drama". In the 1940s, Jiao Juyin put forward the idea that the drama should learn from the traditional opera in the discussion of "nationalization of the Modern Drama". Then in the 1950s and 1960s, Huang Zuolin clearly put forward the "view of freehand brushwork drama" and put it into practice. Both show their immortal contribution to the modernization of Chinese drama. On the basis of summing up the content of the full text, the conclusion makes an objective evaluation of the "National Opera Movement", in order to arouse the attention of the contemporary academic circles, and at the same time, to make the "National Opera Movement" to be further recognized and paid attention to. The revaluation provides a reference value.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J809.2

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