本文選題：沈西苓 + 戲劇　； 參考：《西南大學(xué)》2017年碩士論文

【摘要】：1930年代是中國影劇界最為激蕩、最為嬗變的黃金十年。大批影劇人匯聚上海,開創(chuàng)中國影劇傳統(tǒng)�？谷諔�(zhàn)爭全面爆發(fā)后,上海影劇人流離失所,北去陜北,西遷漢口、成都、重慶、昆明,南下香港。在光怪陸離的影戲界,各人操持著各人的營生,或倚靠團(tuán)體,發(fā)展出一定的“傾向”,或純粹“為了藝術(shù)而藝術(shù)”,保持個人藝術(shù)觀點(diǎn)的獨(dú)立。他們或許經(jīng)歷了漫長的一生,在時代轉(zhuǎn)變,政權(quán)更替的狹縫中掌握了話語權(quán),或許終其半生,伶仃孤苦,輾轉(zhuǎn)奔波,不幸早夭,葬于異土。民國“左翼”影戲人作為大時代的一員,因后世的歷史編纂而光彩熠熠,但作為“左翼”的個體,卻多半命際坎坷。對于沈西苓而言,這短暫的十年成就了他的一生。作為一個“亭子間”文人,他有著深厚的文學(xué)修養(yǎng)與靈動的性情;作為一個戲劇家,他有先鋒青年的激情,也有大劇場導(dǎo)演的持重;作為一個電影家,他針砭時弊,不以“噱頭”為生意經(jīng),勤勤懇懇,耕耘于銀幕。然而,沈西苓卻受到了最大的虐使與排擠,“明星”公司的不重視,加之嚴(yán)苛的電影檢查制度,他三次離開電影界。朋友們常稱呼沈西苓為“怪物”,他性情靦腆,臉上常常掛著微笑,從不多言。夏衍認(rèn)為他“脆弱”,總是向困難妥協(xié)。他的電影被電檢會反復(fù)刪剪,不成形的影片淪為他人笑柄,是需要怎樣的勇氣,才能從這些謾罵與嘲笑中走出來。一直到《十字街頭》的成功上映,他才真正被大家所認(rèn)可,而這已經(jīng)接近其生命的尾聲。沈西苓并非時代的寵兒,也不是影劇界的“大咖”,當(dāng)我們談到“左翼”戲劇或電影時,很少會提及他。1938年部分影劇人退守“大后方”,沈西苓在中央電影制片廠完成《中華兒女》后,感染風(fēng)寒,加之常年肺病,終不治而亡,時年三十六歲。他的生命真的非常短暫!他的作品寥落散亂,無人拾掇。筆者并非想為沈西苓歌功頌德,也不志在為其于文化圈或“左翼”陣地中立碑著說。對于筆者而言,沈西苓是大時代中的鮮活個體,他的理想,他的困頓,他的生命,才是筆者關(guān)注所在。同時,筆者以沈西苓為“觸點(diǎn)”,以期觀望他的棲身之所。歷史的原貌常因后人的書寫而被遮蔽或夸大,沈西苓身上所交織的時代之景、時代之變、時代之愿與時代之困,只能通過收集、整理與串聯(lián)相關(guān)史料以觸碰歷史的狀貌。
[Abstract]:The 1930 s was the golden decade of the most violent and transmutation in the field of Chinese film dramas. A large number of film opera people gathered in Shanghai to create a Chinese film drama tradition. After the outbreak of the War of Resistance against Japan, the Shanghai Shadow Drama displaced, moved north to northern Shaanxi, moved west to Hankou, Chengdu, Chongqing, Kunming, south of Hong Kong. In the grotesque world of film and play, each man manages his own business or relies on the group to develop a certain "tendency", or simply "art for the sake of art", to maintain the independence of one's own artistic point of view. They may have gone through a long life, in the change of times, regime change in the slit of the right to speak, or half the life, lonely, wandering, unfortunately early, buried in a different land. As a member of the great era, the people of the "left wing" of the Republic of China are glittering because of the historical compilation of later generations, but as the individuals of the "left wing", most of their lives are bumpy. For Shen Xiling, this short ten years accomplished his life. As a literati in the pavilion, he has profound literary cultivation and intelligent temperament; as a dramatist, he has the passion of a pioneer youth and the care of a director of a large theater; as a filmmaker, he criticizes the current situation. Not "gimmicks" for business, diligent, work on the screen. However, Shen Xiling was subjected to the greatest abuse and exclusion, "Star" company's neglect, coupled with strict film censorship, he left the film industry three times. Friends often call Shen Xiling "monster", he is shy, often smile, never say much. Xia Yan called him "fragile" and always compromised to difficulties. His films have been repeatedly censored, and shapeless films have become the laughing stock of others. It takes a lot of courage to get out of these insults and ridicule. It was not until the successful release of Cross Street that he was truly recognized, and it was near the end of his life. Shen Xiling is not the favorite of the times, nor is he the "Daga" of the film world. When we talk about "Left-wing" plays or movies, we seldom mention him. Shen Xiling, who was 36 years old at the Central Film Studio, was infected with cold wind and chronic lung disease. His life is really short! His works were scattered and scattered, and nobody was able to pick them up. I do not want to sing praise for Shen Xiling, nor do I want to set up a monument for Shen Xiling in the cultural circle or the "left wing" position. For the author, Shen Xiling is a fresh individual in the great age, his ideal, his predicament and his life are the focus of the author's attention. At the same time, the author takes Shen Xiling as the contact point to see where he lives. The original appearance of history is often obscured or exaggerated by the writing of later generations. Shen Xiling's interwoven scene of the times, the change of times, the desire of the times and the difficulties of the times can only touch the features of history by collecting, arranging and connecting with related historical materials.
【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】：J903

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 薛峰;;導(dǎo)演、文人、斗士:沈西苓的影劇人生[J];電影藝術(shù);2014年03期

2 馬小敏;;論沈西苓電影中的現(xiàn)實(shí)關(guān)懷與藝術(shù)探求[J];當(dāng)代電影;2014年05期

3 汪方華;《十字街頭》——中國電影的浪漫現(xiàn)實(shí)主義傳統(tǒng)[J];當(dāng)代電影;2005年02期

4 衛(wèi)小林;論沈西苓的電影語言藝術(shù)[J];當(dāng)代電影;1993年02期

5 許幸之;;大型紀(jì)錄片《中國萬歲》的不幸命運(yùn)[J];電影藝術(shù);1992年04期

6 陳虹;陳晶;;陳白塵年譜[二][J];新文學(xué)史料;1989年02期

7 求索;賀綠汀早期的電影音樂創(chuàng)作[J];音樂藝術(shù);1981年02期

8 趙丹;;表演探索(續(xù)三)[J];戲劇藝術(shù);1980年01期

9 凌鶴;;參加左聯(lián)的前前后后[J];新文學(xué)史料;1980年01期

10 徐懷沙;;沈西苓及其電影創(chuàng)作活動[J];中國電影;1958年01期

，

本文編號：2071549