中国现代独幕剧30年初探(1919年-1949年)——以剧本作品的思想观念流变为主线
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摘要
独幕剧是话剧中一个分支,具有自身的独特性。独幕剧擅长在较短的时间内,集中展示一个事件的突转,人物命运的激变、情感态度的反差。中国独幕剧在1919年至1949年的30年,根据不同剧本作品中思想观念的流变,可划分为三个时期:1919-1929年,良莠不齐的探索期,呈现出以关注民主自由与传统礼制两种思想观念二元并存; 1930-1937年,曲折前行的成长期,呈现出以左翼戏剧的阶级斗争思想为主,以新文化的再思考与呼吁团结共和为目的的思想观念为辅; 1937年7月-1949年9月,量增质缓的震颤期,呈现出以从群体出发,号召民众反帝抗日思想为主,以从个体出发,揭露国民劣根性的思想为辅。
The one-act play is a branch of drama that has its own distinctiveness,notable for its abrupt turn in event,the dramatic change in the character's fate,and the sharp contrast of emotions in a short period of time. From 1919 to 1949,Chinese one-act play can be divided into three periods according to the ideological changes in different plays. The first phase is a period of an uneven exploration that lasted from 1919 to 1929 with two ideological thoughts coexisting that focused on democracy &freedom and traditional rituals respectively. The second phase( from 1930 to 1937) is a period of tortuous growth that was represented by the left-wing plays oriented with class struggle and supplemented by the rethinking of the new culture and the calling for unity and reconciliation;And the third phase was from July 1937 to September 1949,a tremor period of soaring quantity and slackening quality that summoned people to fight against Japanese imperialism collectively and revealed the squalid human nature individually.
The one-act play is a branch of drama that has its own distinctiveness,notable for its abrupt turn in event,the dramatic change in the character's fate,and the sharp contrast of emotions in a short period of time. From 1919 to 1949,Chinese one-act play can be divided into three periods according to the ideological changes in different plays. The first phase is a period of an uneven exploration that lasted from 1919 to 1929 with two ideological thoughts coexisting that focused on democracy &freedom and traditional rituals respectively. The second phase( from 1930 to 1937) is a period of tortuous growth that was represented by the left-wing plays oriented with class struggle and supplemented by the rethinking of the new culture and the calling for unity and reconciliation;And the third phase was from July 1937 to September 1949,a tremor period of soaring quantity and slackening quality that summoned people to fight against Japanese imperialism collectively and revealed the squalid human nature individually.
引文
[1]丁楠.论独幕剧的特点和技巧———《外国独幕剧选》编后[J].戏剧艺术,1981(04).
[2]周端木,孙祖平.论独幕剧[J].戏剧艺术,1982(03).
[3]蔡慕晖.独幕剧ABC[M].北京:知识产权出版社,2017:5.
[4]中国社会科学院文学研究所现代文学研究室.中国现代独幕话剧选1919-1949(第一卷)[M].北京:人民文学出版社,1984.
[5]欧阳予倩.欧阳予倩全集(第一卷)[M].上海:上海文艺出版社,1990:199.
[6]董健,屠岸.田汉代表作(上)[M].北京:中国戏剧出版社,1998:205.
[7]田本相.中国近现代戏剧史[M].南京:江苏教育出版社,2008:460.
[8]北京大学,等.独幕剧选(第二册)[M].上海:上海教育出版社,1979:479.
(1)文中所标示的时间以发表见报日期为准。
[2]周端木,孙祖平.论独幕剧[J].戏剧艺术,1982(03).
[3]蔡慕晖.独幕剧ABC[M].北京:知识产权出版社,2017:5.
[4]中国社会科学院文学研究所现代文学研究室.中国现代独幕话剧选1919-1949(第一卷)[M].北京:人民文学出版社,1984.
[5]欧阳予倩.欧阳予倩全集(第一卷)[M].上海:上海文艺出版社,1990:199.
[6]董健,屠岸.田汉代表作(上)[M].北京:中国戏剧出版社,1998:205.
[7]田本相.中国近现代戏剧史[M].南京:江苏教育出版社,2008:460.
[8]北京大学,等.独幕剧选(第二册)[M].上海:上海教育出版社,1979:479.
(1)文中所标示的时间以发表见报日期为准。