本文選題：《虎符》　切入點(diǎn)：接受史　出處：《西南大學(xué)》2017年碩士論文

【摘要】：《虎符》是郭沫若六部抗戰(zhàn)歷史劇中的第三部,由《史記》中的《信陵君列傳》改編而成,寫如姬為信陵君“竊符救趙”的故事。它應(yīng)時(shí)代的洪流而生,帶有強(qiáng)烈的政治色彩。隨著時(shí)間的推移,人們對《虎符》接受的政治色彩逐漸變淡,著重點(diǎn)逐漸轉(zhuǎn)移到藝術(shù)本身,內(nèi)涵也愈加豐富,逐漸確立了其經(jīng)典地位�！痘⒎返慕邮芮闆r,表現(xiàn)在改編(包括作者自己的修改)、演出、研究等多方面,且階段性比較明顯。由其接受情況的特點(diǎn)來看,可以將其分為抗日戰(zhàn)爭時(shí)期、解放戰(zhàn)爭時(shí)期、十七年建設(shè)時(shí)期和粉碎“四人幫”以后四個(gè)階段。本文除去引言和結(jié)語,正文部分將按照這四個(gè)階段分為四章,每章再從演出、劇本研究、改編等入手分為小節(jié),闡述每個(gè)階段《虎符》的接受情況和變化,了解背后的原因,并結(jié)合接受美學(xué)的相關(guān)理論進(jìn)行分析�？箲�(zhàn)時(shí)期,《虎符》的接受與當(dāng)時(shí)中國的政局聯(lián)系密切,政治性較強(qiáng)。演出地點(diǎn)主要集中在國共兩黨的政府所在地重慶和延安。在重慶進(jìn)行的首演是此階段影響最大的一次演出,引起了極大的反響。劇本研究很少,只是在“把人當(dāng)成人”的主題和主要人物形象研究方面進(jìn)行了初探。團(tuán)結(jié)抗日的首要性,使得《虎符》中隱含的對國民黨的批判在此時(shí)并沒有引起重視,甚至是刻意回避。解放戰(zhàn)爭時(shí)期,國內(nèi)的主要矛盾發(fā)生變化,《虎符》中批判國民黨的因素引起人們重視,這在演出、改編等方面都有明顯的表現(xiàn)。1947年祖國北工劇團(tuán)在京津兩地的演出和1948年文化大會堂的演出是此階段影響較大的兩次演出,地域擴(kuò)大到北京、天津以及石家莊等地。郭沫若對劇本進(jìn)行了第一次大規(guī)模的修改,將劇本里面的暗射對象進(jìn)一步丑化。在這兩個(gè)階段里,《虎符》的接受情況存在著共性,整體呈現(xiàn)演出為主、研究為輔的狀態(tài)。十七年建設(shè)時(shí)期,仍然以演出為主,研究為輔,且具有較強(qiáng)的政治性,只是此時(shí)的政治性是對《虎符》故事的借用,脫離了郭沫若創(chuàng)作《虎符》的初衷。重要的演出有用以支持抗美援朝的《信陵公子》的演出,人藝為配合文化建設(shè)借鑒戲曲因素進(jìn)行的民族化探索,東風(fēng)劇團(tuán)帶有“反修反霸”意味的豫劇演出等。演出地域進(jìn)一步擴(kuò)大,甚至傳到國外。劇本方面,郭沫若又做了一次較大規(guī)模的修改,重點(diǎn)放在語言的口語化方面。研究進(jìn)一步拓展,和前期的探索一起為后面研究的多元化做了鋪墊。粉碎“四人幫”以后,《虎符》的接受重心轉(zhuǎn)向研究領(lǐng)域,呈現(xiàn)研究為主、演出為輔的狀態(tài)。演出和研究的側(cè)重點(diǎn),也由對其所蘊(yùn)含意義的挖掘向藝術(shù)本身偏移,且政治性削弱。演出的目的以紀(jì)念性和對經(jīng)典的演繹為主,研究呈現(xiàn)多元化狀態(tài)。其中的教育意義也得到大力發(fā)掘,包括其中形象、精神的美育作用以及蘊(yùn)含的文史知識等�！痘⒎肥且徊繒r(shí)代性極強(qiáng)的作品,在整個(gè)接受歷程中,表現(xiàn)出了其極強(qiáng)的適應(yīng)性。
[Abstract]:"Tiger Fu" is the third of Guo Moruo's six historical dramas of the War of Resistance against Japan. It is based on the Story of the Xin Lingjun in the Book of History, and is written as the story of "stealing charms to save Zhao" by Ji. It was born in response to the current of the times. With a strong political color. With the passage of time, the political color accepted by people gradually faded, the emphasis gradually shifted to the art itself, and the connotation became more and more abundant. Gradually established its classical status. The acceptance of "Tiger Fu" is manifested in the adaptation (including the author's own modification, performance, research, etc.), and the stage is obvious. It can be divided into four stages: the period of the War of Resistance against Japan, the period of the War of Liberation, the period of seventeen years of construction and the period of crushing the Gang of four. Apart from the introduction and conclusion, the text of the text will be divided into four chapters according to these four stages, each chapter of which will be performed again. The script research, adaptation and so on are divided into sections to explain the acceptance and changes of "Tiger Fu" in each stage, and to understand the reasons behind it. During the War of Resistance against Japan, the acceptance of Tiger Fu was closely related to the political situation in China at that time. The performance was mainly in Chongqing and Yan'an, the seat of government of the Kuomintang and the Communist Party. The premiere in Chongqing was the most influential performance at this stage, which caused great repercussions. It is only in the study of the theme of "treating people as people" and in the study of the main characters that the primacy of unity and resistance against Japan has made the implied criticism of the Kuomintang in "Tiger Fu" go unnoticed at this time. Even deliberately evasive. During the War of Liberation, the main contradictions in the country changed, and the factors that criticized the Kuomintang in "Tiger Fu" attracted people's attention. The performances of the Beigong Opera Troupe in Beijing and Tianjin in 1947 and the Cultural Hall in 1948 were the two most influential performances at this stage, and the territory was expanded to Beijing. Tianjin, Shijiazhuang and other places. Guo Moruo made the first large-scale revision of the script, further uglifying the hidden targets in the script. In these two stages, the acceptance of the "Tiger Fu" has a common character, and the overall presentation of the play is mainly based on the performance. During the 17-year construction period, performance was still the main factor, and research was secondary, and it had a strong political character, except that the political nature of this time was a borrowing of the story of the Tiger Fu. Divorced from the original intention of Guo Moruo's creation of "Tiger Fu". The important performances were useful to support the performance of the "Xinling Gongzi", which was resistant to US aggression and aiding the DPRK, and to explore the nationalization of the human arts in order to coordinate with the cultural construction and draw lessons from the elements of the opera. The Dongfeng Drama Troupe performed in Henan Opera with the sense of "opposing rectification and anti-hegemonism". The performing area was further expanded and even spread abroad. In terms of the script, Guo Moruo made another large-scale revision. The emphasis is on the colloquial aspect of language. The further development of the research, together with the earlier exploration, paves the way for the diversification of the later studies. After the Gang of four was smashed, the acceptance center of the Tiger Fu turned to the research field and presented the research as the main body. The emphasis of performance and research is also shifted from the excavation of its meaning to the art itself, and political weakening. The purpose of the performance is to commemorate and deduce the classic. The educational significance of the study has also been greatly explored, including the image, the aesthetic function of the spirit and the knowledge of literature and history. It shows its strong adaptability.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.3

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