本文關(guān)鍵詞： 海派話劇 “鴛鴦蝴蝶派”風(fēng)格 復(fù)古化和音樂(lè)化 本土化改編　出處：《中國(guó)現(xiàn)代文學(xué)研究叢刊》2014年12期 　論文類型：期刊論文

【摘要】：1940年代是海派話劇的繁榮期,其活躍的真實(shí)情況可由新發(fā)掘出的劇本和散見(jiàn)于報(bào)刊新聞、廣告、評(píng)論中的信息獲取。海派話劇大致涵括了現(xiàn)實(shí)劇、歷史劇、改編劇三種主要類型�，F(xiàn)實(shí)劇里"鴛鴦蝴蝶派"風(fēng)格的劇目流行,歷史劇有對(duì)"復(fù)古化和音樂(lè)化"的追求,改編劇使用入鄉(xiāng)隨俗的"本土化"方法等都是海派話劇獨(dú)有的特征。這些劇作以鮮明的通俗性,好看有噱頭,講究舞臺(tái)音響美工的現(xiàn)代技術(shù)性而迥異于當(dāng)時(shí)的其他話劇。附后的海派話劇劇目,也有一定的學(xué)術(shù)價(jià)值。
[Abstract]:The 1940s was the boom period of the Shanghai drama, and its active real situation could be obtained from the newly discovered plays and the information scattered in the newspapers, news, advertisements, and commentaries. The Shanghai drama generally included realistic drama and historical drama. There are three main types of scriptwriters. In realistic dramas, the "Mandarin Duck and Butterfly School" style plays are popular, and historical plays have the pursuit of "retro and musicalization." The adaptation of screenwriters to the "indigenization" method of doing what they do in the countryside is a unique feature of the Shanghai drama. These plays have a distinctive popularity and a good look and gimmicks. The modern technology of stage acoustics is different from other drama at that time.
【作者單位】： 鄭州師范學(xué)院傳播學(xué)院;
【基金】：教育部青年基金項(xiàng)目“海派話劇研究”(14YJC751046)的階段性成果
【分類號(hào)】：J824
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本文編號(hào)：1530858