老舍话剧“艺术现象”探析
摘要
老舍,是现代中国剧坛上少数极有造诣的伟大剧作家之一。他为我们创作了《茶馆》、《龙须沟》等这样不朽的剧作,给中国和世界的剧坛增添了耀眼的光芒。可是,令人遗憾的是,在中国现代理论界,对老舍话剧的研究仍然是比较薄弱的,大多数研究还停留在对剧作的思想内容的分析和个别文本的解读上。
本文在前人的基础上,以史料研究的方法为基础,对建国后老舍话剧的艺术现象进行概括分析。本文分为三章,引言部分主要阐述论题的意义并简要回顾以往的研究,说明本文的研究方法和原则。
第一章主要是从老舍话剧题材的“时政化现象”入手,根据老舍在新中国时期文艺观念的确立及其背负的政治使命,致使其话剧题材出现“时政化现象”。通过对时政化题材给老舍带来的收获以及他为此所付出的代价这正反两个方面的分析,体现了在时政化题材之下老舍话剧显现的艺术特点以及现实政治对老舍话剧创作的深刻影响。
第二章主要从老舍话剧的“第一幕现象”这一角度进行分析。在老舍建国后的话剧中,无论是《龙须沟》、《茶馆》这样的经典作品还是那些大量的一般性的作品,它们的第一幕都十分精彩,构成了一个完美的整体。而在这精彩的第一幕过后,由于老舍长期以来形成的小说思维定势为其话剧创作带来诸多限制和不利之处,建国后日趋强烈的“左倾”意识也给其创作带来了干扰,致使其话剧的后几幕艺术水准降低,戏剧结构失衡,带来了第一幕之后的困境。
第三章写老舍话剧艺术水平的“失衡现象”。建国后,老舍既创造出了《茶馆》这样的现代话剧经典之作,也创作了《西望长安》、《红大院》这些平庸甚至失败的剧作,老舍艺术水平的失衡状态是超出常态的。本章结合当时的政治环境、文艺界的政策、作家创作心态来分析老舍话剧创作出现大起大落的现象以及造成这一现象的原因。
Laoshe is the minority of great playwrights in Chinese dramatic world with extremely attainments.He has created immortal dramatic work such as“Teahouse”and“Longxugou ditch”for us,which has increased the dazzling ray for Chinese and the world dramatic world. However,to one's disappointment,the research to Laoshe's modern drama is still quite weak in the Chinese modern theory.Most of the research only analyze on dramatic work ideological content,or just on the individual text explanation.It is desperate and also has not formed a certain system in its artistic achievement research.Besides,it has not been able to know Laoshe's unique contribution which makes to the new Chinese modern drama stagecraft from thee stagecraft angle and from the audience esthetic angle.
The essay bases on the predecessor's research and takes the historical data research's method as a foundation,making detail analysis on Lao She's modern drama's artistic phenomenon after the foundation of the nation,with the hope to do some contribution in this area.This essay divides into three chapters,the introduction part mainly elaborate the significance of the thesis and briefly review of the former research,it also includes the research's technique and principle.
Chapter one mainly obtains from the Laoshe's modern drama theme“the current politics phenomenon”,according to Laoshe the political mission and ime literary arts idea's establishment in the new Chinese,causing its modern drama theme appearance“the current politics phenomenon”.Through the pro and con two aspect analyses which to Laoshe through brings the harvest which as well as pays for this reason to the current politics theme,has manifested under the current politics theme the Laoshe modern drama appearance artistic characteristic as well as the real politic the profound influence which creates to the Laoshe modern drama.
Chapter two mainly from Lao She's view of "the first act situation".After the founding of the nation in Laoshe's drama,whether it is“Longxugou ditch”,“Tea House”or classics such as those of many general works,the first act of which are very exciting form a perfect whole.In this exciting first act after a long period of time,because of the formation of Lao She's novel thinking,a lot of creative drama for its limitations and disadvantages,the increasingly strong after the founding of the“leftist”sense of creativity brought to its interference,with the result that after the drama of a few lower-screen art,drama,structural imbalance,brought about after the plight of the first act.
Chapter three mainly writes“the unbalanced phenomenon”of Lao she's modern drama art level.After the founding of the nation,Laoshe has already created such modern drama classics“Teahouse”work,but also created“XiWangChangAn”,“Red Yard”these mediocre which was even defeated,the Laoshe art level unbalanced condition surpasses the habit.
This chapter unified the political context,literary and art policy,as well as the writer's creating view to analyze the Laoshe's modern drama and present major rises and falls phenomenon as well as the reason of this phenomenon.
本文在前人的基础上,以史料研究的方法为基础,对建国后老舍话剧的艺术现象进行概括分析。本文分为三章,引言部分主要阐述论题的意义并简要回顾以往的研究,说明本文的研究方法和原则。
第一章主要是从老舍话剧题材的“时政化现象”入手,根据老舍在新中国时期文艺观念的确立及其背负的政治使命,致使其话剧题材出现“时政化现象”。通过对时政化题材给老舍带来的收获以及他为此所付出的代价这正反两个方面的分析,体现了在时政化题材之下老舍话剧显现的艺术特点以及现实政治对老舍话剧创作的深刻影响。
第二章主要从老舍话剧的“第一幕现象”这一角度进行分析。在老舍建国后的话剧中,无论是《龙须沟》、《茶馆》这样的经典作品还是那些大量的一般性的作品,它们的第一幕都十分精彩,构成了一个完美的整体。而在这精彩的第一幕过后,由于老舍长期以来形成的小说思维定势为其话剧创作带来诸多限制和不利之处,建国后日趋强烈的“左倾”意识也给其创作带来了干扰,致使其话剧的后几幕艺术水准降低,戏剧结构失衡,带来了第一幕之后的困境。
第三章写老舍话剧艺术水平的“失衡现象”。建国后,老舍既创造出了《茶馆》这样的现代话剧经典之作,也创作了《西望长安》、《红大院》这些平庸甚至失败的剧作,老舍艺术水平的失衡状态是超出常态的。本章结合当时的政治环境、文艺界的政策、作家创作心态来分析老舍话剧创作出现大起大落的现象以及造成这一现象的原因。
Laoshe is the minority of great playwrights in Chinese dramatic world with extremely attainments.He has created immortal dramatic work such as“Teahouse”and“Longxugou ditch”for us,which has increased the dazzling ray for Chinese and the world dramatic world. However,to one's disappointment,the research to Laoshe's modern drama is still quite weak in the Chinese modern theory.Most of the research only analyze on dramatic work ideological content,or just on the individual text explanation.It is desperate and also has not formed a certain system in its artistic achievement research.Besides,it has not been able to know Laoshe's unique contribution which makes to the new Chinese modern drama stagecraft from thee stagecraft angle and from the audience esthetic angle.
The essay bases on the predecessor's research and takes the historical data research's method as a foundation,making detail analysis on Lao She's modern drama's artistic phenomenon after the foundation of the nation,with the hope to do some contribution in this area.This essay divides into three chapters,the introduction part mainly elaborate the significance of the thesis and briefly review of the former research,it also includes the research's technique and principle.
Chapter one mainly obtains from the Laoshe's modern drama theme“the current politics phenomenon”,according to Laoshe the political mission and ime literary arts idea's establishment in the new Chinese,causing its modern drama theme appearance“the current politics phenomenon”.Through the pro and con two aspect analyses which to Laoshe through brings the harvest which as well as pays for this reason to the current politics theme,has manifested under the current politics theme the Laoshe modern drama appearance artistic characteristic as well as the real politic the profound influence which creates to the Laoshe modern drama.
Chapter two mainly from Lao She's view of "the first act situation".After the founding of the nation in Laoshe's drama,whether it is“Longxugou ditch”,“Tea House”or classics such as those of many general works,the first act of which are very exciting form a perfect whole.In this exciting first act after a long period of time,because of the formation of Lao She's novel thinking,a lot of creative drama for its limitations and disadvantages,the increasingly strong after the founding of the“leftist”sense of creativity brought to its interference,with the result that after the drama of a few lower-screen art,drama,structural imbalance,brought about after the plight of the first act.
Chapter three mainly writes“the unbalanced phenomenon”of Lao she's modern drama art level.After the founding of the nation,Laoshe has already created such modern drama classics“Teahouse”work,but also created“XiWangChangAn”,“Red Yard”these mediocre which was even defeated,the Laoshe art level unbalanced condition surpasses the habit.
This chapter unified the political context,literary and art policy,as well as the writer's creating view to analyze the Laoshe's modern drama and present major rises and falls phenomenon as well as the reason of this phenomenon.
引文
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[3][4][5][6][9][19][49]克莹,李颖.老舍的话剧艺术[M].北京:文化艺术出版社,1982,1:281、176、89、120、304、3、279.
[7]古世仓,吴小美.老舍与中国革命[M].北京:民族出版社,2005,11:58.
[8]老舍.生活学习工作[A].老舍论剧[M].北京:中国戏剧出版社,1981,1:
[10][11][12]老舍.老舍论创作[M].上海:上海文艺出版社,1980,2:168、170.
[13]老舍.老舍剧作选[M].北京:人民文学出版社,1959,1:2.
[14]舒乙.老舍[M].北京:人民出版社,1986,9:157.
[15]老舍.我的经验[A].老舍论剧[M].北京:中国戏剧出版社,1981,1:218.
[16][17]贝克.戏剧技巧[M].北京:中国戏剧出版社,1985,1:274、235.
[18]老舍.语言人物戏剧[A].老舍论剧[M].北京:中国戏剧出版社,1981,1:54.
[20]老舍.对话浅论[A].老舍论剧[M].北京:中国戏剧出版社,1981,1:75.
[21]老舍.戏剧语言[A].老舍论剧[M].北京:中国戏剧出版社,1981,1:34.
[22]洪钟煌,克莹.老舍话剧的艺术世界[M].北京:学苑出版社,1993,5:178.
[23]老舍.闲话我的七个剧本[A].老舍全集:(第十六卷)[M].北京:人民文学出版社,1999:208-214.
[24][25][40]老舍.暑中写剧记[A].老舍全集:(第十七卷)[M].北京:人民文学出版社,1999:193,194,201.
[26][27][美]约翰·霍华德·劳逊.戏剧与电影的剧作理论与技巧[M].北京:中国戏剧出版社,1978:136、207.
[28]老舍.谈〈方珍珠〉剧本[A].老舍论剧[M].北京:中国戏剧出版社,1981,1:46.
[29]冉忆桥,李振潼.老舍剧作研究[M].上海:华东师范大学出版社,1988,8:158.
[30][33]石兴则,刘明.老舍评传[M].北京:中国社会出版社,2005:109、257.
[31]老舍.有关〈西望长安〉的两封信[A].克莹,李颖.老舍的话剧艺术[M].北京:文化艺术出版社,1982,1:152.
[32]白草根.我曾经是个骗子——李万铭忏悔录[M].西安:陕西人民出版社,1997,8:151.
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