【摘要】： 話劇是“舶來(lái)品”。20世紀(jì)初,傳入中國(guó)后,在繼承西方話劇藝術(shù)成就基礎(chǔ)上,和中國(guó)的傳統(tǒng)戲曲進(jìn)行了猛烈的撞擊和融合,形成了具有中國(guó)本土特色的中國(guó)話劇。 中國(guó)話劇誕生的初期,受易卜生現(xiàn)實(shí)主義戲劇思潮影響最大。極大地推動(dòng)了中國(guó)話劇的發(fā)展,給中國(guó)帶來(lái)了不同于傳統(tǒng)戲劇的,卻又是多元化的戲劇,使得中國(guó)的話劇界從一開(kāi)始即形成了現(xiàn)代話劇多元?jiǎng)?chuàng)造的局面。在美學(xué)原則、結(jié)構(gòu)技巧、人物形象、語(yǔ)言形式等方面對(duì)中國(guó)話劇起到啟蒙作用。1920年代末至1930年代初,左翼戲劇觀對(duì)中國(guó)革命文藝的發(fā)展產(chǎn)生深遠(yuǎn)的影響,推動(dòng)現(xiàn)代戲劇向著無(wú)產(chǎn)階級(jí)戲劇運(yùn)動(dòng)的方向前進(jìn),為中國(guó)現(xiàn)代戲劇的發(fā)展開(kāi)辟了新的紀(jì)元。促使民主主義戲劇向無(wú)產(chǎn)階級(jí)戲劇轉(zhuǎn)變,有力地推動(dòng)文藝大眾化運(yùn)動(dòng),加快中國(guó)馬克思主義文藝?yán)碚摻ㄔO(shè),為左翼文藝運(yùn)動(dòng)中現(xiàn)實(shí)主義藝術(shù)的發(fā)展奠定了堅(jiān)實(shí)的理論基礎(chǔ)。 1930-1940年代,全國(guó)劃分為幾個(gè)不同的政治區(qū)域：國(guó)統(tǒng)區(qū)(國(guó)民黨統(tǒng)治的地區(qū))、解放區(qū)(共產(chǎn)黨領(lǐng)導(dǎo)的抗日敵后根據(jù)地)、淪陷區(qū)(日本軍隊(duì)占領(lǐng)的地區(qū))及上�！肮聧u”區(qū)。由于戰(zhàn)爭(zhēng)局勢(shì)的變化發(fā)展,不同階段有不同的時(shí)代審美傾向,這又決定著不同的創(chuàng)作潮流與趨勢(shì),文學(xué)發(fā)展的時(shí)段性比較明晰,話劇發(fā)展在各個(gè)區(qū)域產(chǎn)生不同的流變。但是,卻有著共同的特征：政治化、大眾化、民族化、組織化。 話劇作為一種西方所特有的藝術(shù)形式,經(jīng)過(guò)二十年的磨練,話劇終于深入到東方文化中,豐富了中國(guó)的文學(xué)形式,形成了本土化的文藝?yán)碚摵团u(píng),實(shí)現(xiàn)了中西戲劇的接軌。
[Abstract]:After being introduced into China in the beginning of the 20th century, the modern drama, on the basis of inheriting the artistic achievements of the western drama, made a violent impact and fusion with the Chinese traditional opera, and formed a Chinese drama with Chinese local characteristics. In the early stage of the birth of Chinese modern drama, Ibsen's realistic drama thought had the most influence on it. It has greatly promoted the development of Chinese modern drama, and brought to China different from the traditional drama, but also diversified drama, so that the Chinese drama field from the beginning has formed the situation of modern drama multi-creation. In the aspects of aesthetic principles, structural techniques, characters' images, language forms and so on, the left-wing drama concept had a profound influence on the development of Chinese revolutionary literature and art from the end of 1920s to the early 1930s. Pushing modern drama to the direction of proletarian drama movement opened a new era for the development of Chinese modern drama. To promote the transformation of democratic drama to proletarian drama, to promote the mass movement of literature and art, and to speed up the construction of Marxist literary theory in China. It laid a solid theoretical foundation for the development of realistic art in the left-wing literary movement. The whole country is divided into several political areas: the Kuomintang-controlled areas, the liberated areas (the base areas behind the anti-Japanese enemy lines led by the Communist Party), the enemy-occupied areas (the areas occupied by the Japanese army) and the "isolated islands" of Shanghai. Because of the change and development of the war situation, different stages have different aesthetic tendency of the times, which determines the different creative trends and trends, the period of literary development is relatively clear, the development of drama in different regions produced different changes. However, there are common characteristics: politicization, popularization, nationalization and organization. As a unique form of art in the West, after twenty years of practice, the drama has finally penetrated into the oriental culture, enriched the Chinese literary form, formed the native literary theory and criticism, and realized the integration of the Chinese and the Western dramas.
【學(xué)位授予單位】：南昌大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J824

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 張靜巖;西北戰(zhàn)地服務(wù)團(tuán)研究[D];山西師范大學(xué);2012年

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本文編號(hào)：2241747