【摘要】：作為中國(guó)現(xiàn)代文學(xué)史上杰出的戲劇家,曹禺用其一生致力于戲劇演出和話劇創(chuàng)作事業(yè),寫(xiě)有《雷雨》、《日出》、《原野》、《北京人》等多部著名的劇作,塑造了一批令人難忘的人物形象,諸如周繁漪、陳白露、仇虎等。曹禺的戲劇創(chuàng)作以建國(guó)之時(shí)為分界,可有較為明顯的前后期之分,前期作品如《雷雨》、《日出》、《原野》等,后期作品如《明朗的天》、《膽劍篇》、《王昭君》等。其后期創(chuàng)作與前期比較,無(wú)論在形式內(nèi)容方面,還是在創(chuàng)作方法、創(chuàng)作思想方面,都有著較為顯著的區(qū)別,而前期作品在藝術(shù)和思想方面都較后期略勝一籌。正因?yàn)榇?評(píng)論界關(guān)于曹禺前期作品的關(guān)注遠(yuǎn)多于后期作品,而他們對(duì)其前期話劇有著各種各樣的解讀,不一而足。究竟作家的創(chuàng)作意圖是什么?作品真正的思想內(nèi)涵是什么?這似乎從作品與時(shí)代、社會(huì)的復(fù)雜關(guān)系中難以解釋清楚。如今,我們作為研究者來(lái)解讀曹禺,只是為了走近這位大師,與他進(jìn)行精神層面上的對(duì)話。本文擬從曹禺創(chuàng)作三部話劇的心理切入,分析其創(chuàng)作的原因,探析其創(chuàng)作的心路歷程,尋求其劇作的獨(dú)特性。本文認(rèn)為曹禺“生命三部曲”的創(chuàng)作是劇作家的心理宣泄與自我確證的過(guò)程,話劇的創(chuàng)作是作家內(nèi)心情感迫切表達(dá)的需要,是作家對(duì)現(xiàn)實(shí)需求的彌補(bǔ)。所以本文以作家創(chuàng)作時(shí)的心理為切入點(diǎn),第一章分析了作家創(chuàng)作前的童年體驗(yàn)以及由此帶來(lái)的情感創(chuàng)傷,作為其激情創(chuàng)作的重要原因,其中具體分為愛(ài)的缺席、歸屬的困惑、精神的壓抑三小節(jié),分別從生母離世、父親形象、青年經(jīng)歷、個(gè)人氣質(zhì)等方面論述曹禺創(chuàng)作前苦悶的原因,表明其創(chuàng)作的動(dòng)機(jī);第二章通對(duì)話劇中的情節(jié)、人物等方面的詳細(xì)解讀,分析了作家創(chuàng)作時(shí)的心理變化和自我宣泄的過(guò)程,共分為三小節(jié),每部話劇為一小節(jié),第一小節(jié)論述了作家創(chuàng)作《雷雨》時(shí)的郁熱性情與掙扎心理,主要包括郁熱的性情、燃燒的情感、悲憫的情懷等三方面,第二小節(jié)論述的是作家創(chuàng)作《日出》時(shí)逃離與憤懣的心態(tài),具體分為光怪陸離的社會(huì)、按捺不住的憤怒、呼之欲出的幸福等三小部分,第三小節(jié)論述了《原野》中作家郁熱性情的回歸和寫(xiě)作時(shí)狂歡的情緒,具體從“原野”的出場(chǎng)、蠻性的遺留、心靈的狂歡等三方面展開(kāi)論述;第三章分析了作家通過(guò)話劇創(chuàng)作得到的自我確證以及所要表達(dá)的精神內(nèi)涵,分別從自我性格的確認(rèn)與超越、矛盾情感的體驗(yàn)與表達(dá)、生存困境的探尋與追問(wèn)三部分進(jìn)行論述,第一節(jié)主要論述了作家通過(guò)三部話劇得到的對(duì)自我性格與精神狀態(tài)的確證,第二節(jié)論述了曹禺對(duì)家庭和父親形象的情感的確證,第三節(jié)寫(xiě)出了作家在劇作中展現(xiàn)的人類的三種生存狀態(tài):掙扎、凝固、解脫,論述了曹禺劇作中人生困境的表現(xiàn)形式以及試圖逃離的方式。
[Abstract]:As an outstanding dramatist in the history of modern Chinese literature, Cao Yu devoted his whole life to theatrical performances and drama creation. He wrote many famous plays, such as thunderstorm, Sunrise, Field, Beijing Man, etc. Created a group of unforgettable characters, such as Zhou Fanyi, Chen Bailu, Qiu Hu and so on. Cao Yu's drama creation is divided by the time of the founding of the people's Republic of China. There are obvious differences between the former works such as thunderstorm, sunrise, field and so on. Later works such as Anacreontic Sky, Dentian Sword, Wang Zhaojun, and so on. Compared with the early stage, there are significant differences in the form content, the creative method and the creative thought, and the works in the early stage are better than the latter in art and thought. Because of this, critics pay more attention to Cao Yu's early works than later works, and they have a variety of interpretations of his early drama. What is the writer's creative intention? What is the real meaning of the work? This seems difficult to explain from the complex relationship between the work and the times and society. Today, we interpret Cao Yu as a researcher to approach the master and engage in spiritual dialogue with him. From the psychological perspective of Cao Yu's creation of three plays, this paper analyzes the causes of his creation, explores his mental course of creation, and seeks the uniqueness of his plays. This paper holds that the creation of Cao Yu's Trilogy of Life is the process of psychological catharsis and self-confirmation of playwrights, and the creation of drama is the urgent need of expressing the writer's inner emotion and the remedy of the writer's demand for reality. The first chapter analyzes the writer's childhood experience before creation and the emotional trauma caused by it, as an important reason for his passion creation, which includes the absence of love and the confusion of attribution. Three sections of spiritual depression, respectively from the death of the birth mother, father image, youth experience, personal temperament and other aspects of Cao Yu before the creation of the depressed reasons, indicating his creative motivation. The author analyzes the psychological changes and the process of self-catharsis in the creation of the writer, which is divided into three sections, each drama is a section, the first section discusses the writer's "thunderstorm" when the depressed temperament and struggling psychology, The second section deals with the writer's mentality of escaping and resentful in the creation of Sunrise, which can be divided into a strange society and an irrepressible anger. The third section discusses the return of the writer's melancholy temperament and the carnival mood when writing in the third section, which discusses the appearance of the "wilderness", the legacy of savage and the carnival of the soul. The third chapter analyzes the self-corroboration and the spiritual connotation which the writer obtains through the drama creation, respectively from the self-character confirmation and the transcendence, the contradictory emotion experience and the expression, the survival predicament exploration and the question carries on the discussion from three parts. The first section mainly discusses the self-character and mental state confirmed by the writer through three plays, and the second section discusses Cao Yu's emotional confirmation of the image of his family and father. In the third section, the author describes the three living conditions of human beings in his plays: struggle, solidification and liberation, and discusses the forms of life predicament and the ways of trying to escape in Cao Yu's plays.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.3

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王俊虎;;曹禺戲劇中的死亡意識(shí)[J];南通大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2013年04期

2 張曉東;;“臺(tái)前”故事還需“幕后”解——曹禺及其《日出》的文化心理分析[J];戲劇文學(xué);2012年06期

3 楊智;;話劇《雷雨》《日出》中女性形象再解讀[J];廣西社會(huì)科學(xué);2011年06期

4 楊智;;啟蒙視角下的曹禺女性觀及其文化意義[J];廣西大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2011年03期

5 廖奔;;曹禺的苦悶——曹禺百年文化反思[J];文學(xué)評(píng)論;2011年02期

6 劉家鳴;;論曹禺戲劇創(chuàng)作心態(tài)的演變——紀(jì)念曹禺誕辰一百周年[J];文學(xué)與文化;2010年04期

7 張耀杰;;曹禺《日出》中的“有余”與“不足”[J];藝術(shù)百家;2010年06期

8 戴菊杰;;從精神分析角度解析《雷雨》[J];安徽文學(xué)(下半月);2010年10期

9 朱彩霞;;從意象看《原野》的生命意識(shí)[J];當(dāng)代戲劇;2010年01期

10 張樂(lè)亭;;從蘩漪的形象看曹禺的創(chuàng)作心理[J];今日南國(guó)(理論創(chuàng)新版);2009年11期

相關(guān)博士學(xué)位論文 前1條

1 王俊虎;夢(mèng)想在泥濘中放飛：自由·自覺(jué)·自卑·自毀[D];蘭州大學(xué);2008年

相關(guān)碩士學(xué)位論文 前1條

1 王俊虎;略論曹禺的藝術(shù)體驗(yàn)與創(chuàng)作心理[D];陜西師范大學(xué);2003年

，

本文編號(hào)：2219065