“國劇運動”及其寫意戲劇觀
發(fā)布時間：2019-02-13 20:31
【摘要】： 發(fā)生在二十世紀二十年代的“國劇運動”是中國現(xiàn)代戲劇變革中一次重要的改革嘗試。它伴隨著五四新文化運動狂飆突進的批判傳統(tǒng)、崇尚西化的大趨勢,敢于冒天下之大不韙,以其獨特的中西戲劇比較的視角,致力于創(chuàng)建中華新戲劇——“國劇”�！皣鴦∵\動”倡導將中國傳統(tǒng)戲曲寫意性與西方現(xiàn)代話劇的寫實性融為一體的寫意話劇觀,在中國戲劇民族化探索道路上邁出了堅實一步,對在此之后中國戲劇民族化探索提供了莫大的啟示性。 論文梳理了“國劇運動”發(fā)生的時代背景、運動始末以及倡導的主要戲劇理念。在此基礎(chǔ)上,將論述重點放在“國劇運動”的寫意戲劇觀以及這種戲劇觀對中國戲劇民族化探索的啟示作用。論文試圖呈現(xiàn)“國劇運動”所處的真實歷史情境,以客觀公允的研究態(tài)度觀照“國劇運動”的寫意戲劇觀及其影響,以期重新評估其歷史意識和文學價值。 論文由緒論、正文和結(jié)語三部分組成。 緒論主要說明“國劇運動”及其寫意戲劇觀的研究意義、研究現(xiàn)狀。 論文正文部分詳細論述“國劇運動”及其寫意戲劇觀,并對“國劇運動”戲劇觀影響下的種種戲劇民族化形式的探索進行闡釋。 第一部分主要是闡述“國劇運動”發(fā)生的時代背景和興衰過程�！皣鴦∵\動”在五四新文化運動激烈反傳統(tǒng)的歷史語境中,與格律詩運動一起開始反思五四,回歸傳統(tǒng)。它是由一群美國戲劇留學生在看到中西戲劇藝術(shù)不同特質(zhì)之后發(fā)起的,并提出了很多獨特的戲劇理念,但終因殘酷的時代走向了悲劇性的結(jié)局。 第二部分主要闡釋“國劇運動”的寫意戲劇觀�！皣鴦∵\動”的主要歷史功績在于創(chuàng)建中華新戲劇——“國劇”,那么什么是“國劇”,如何創(chuàng)建“國劇”成為“國劇運動”的探討重點�！皣鴦∵\動”在對中國傳統(tǒng)戲曲進行重新評價之后,確認了中國傳統(tǒng)戲曲的寫意性特征,并在中西戲劇藝術(shù)特色比較基礎(chǔ)上,提出了糅合中西,兼并寫意與寫實,創(chuàng)建具有中國民族特色的寫意話劇觀。 第三部分主要論述“國劇運動”的寫意戲劇觀對之后的中國戲劇民族化探索的啟示作用。承接“國劇運動”的戲劇理念,與之同時期的田漢主持的“南國社”打出“新國劇運動”的旗幟;稍后,“國劇運動”主要干將熊佛西在河北定縣進行“農(nóng)民話劇”實踐;之后四十年代焦菊隱在“話劇民族化”大討論中提出話劇應向傳統(tǒng)戲曲借鑒和學習的見解,到了五六十年代黃佐臨明確提出“寫意戲劇觀”并付諸演劇實踐,都展現(xiàn)出“國劇運動”及其戲劇理念對中國戲劇現(xiàn)代化建設(shè)做出的不朽貢獻。 結(jié)語部分在總結(jié)全文內(nèi)容的基礎(chǔ)上,對“國劇運動”做出了客觀評價,以期引起當代學術(shù)界對它的關(guān)注,同時也為“國劇運動”能進一步被認識、被重視、被重估提供參考價值。
[Abstract]:The National Opera Movement, which took place in the 1920s, is an important reform attempt in the reform of modern Chinese drama. It is accompanied by the criticism tradition of the May 4th New Culture Movement, advocates the westernization trend, dares to risk the universal condemnation, and devotes itself to the creation of the Chinese New Drama, "National Drama" with its unique angle of view of the comparison between Chinese and Western dramas. The "Chinese Opera Movement" advocates the idea of combining the freehand brushwork of Chinese traditional opera with the realism of modern western drama, and takes a solid step forward in exploring the nationalization of Chinese drama. It provides great enlightenment to the exploration of nationalization of Chinese drama after this. The paper combs the background of the occurrence of the "National Opera Movement", the beginning and end of the movement and the main theatrical ideas advocated. On this basis, the author puts emphasis on the freehand brushwork drama view of the "National Opera Movement" and its enlightening effect on the exploration of nationalization of Chinese drama. This paper attempts to present the real historical situation of the "National Opera Movement", and to take an objective and fair attitude to study the "National Opera Movement" 's view of freehand brushwork drama and its influence, in order to re-evaluate its historical consciousness and literary value. The paper consists of three parts: introduction, text and conclusion. The introduction mainly explains the significance and current situation of the study of the National Opera Movement and its view of freehand brushwork drama. The main part of the thesis discusses the "National Opera Movement" and its freehand brushwork drama view in detail, and explains the exploration of various forms of nationalization of drama under the influence of the "National Opera Movement" drama view. The first part mainly expounds the historical background and the process of rise and fall of the National Opera Movement. In the historical context of the May 4th New Culture Movement, the "National Opera Movement" began to reflect on the May 4th Movement and return to tradition together with the Movement of rhyming Poems. It was initiated by a group of American drama students after seeing the different characteristics of Chinese and Western dramatic arts, and put forward many unique dramatic ideas, but it finally moved to a tragic end because of the cruel times. The second part mainly explains the view of freehand brushwork drama in the National Opera Movement. The main historical achievement of the "Chinese Opera Movement" lies in the creation of the Chinese New Drama, "the State Drama", so what is the "National Opera", and how to create the "National Opera" becomes the focus of the "National Opera Movement". After reappraising the traditional Chinese opera, the "Chinese Opera Movement" confirms the freehand brushwork characteristics of the Chinese traditional opera, and on the basis of the comparison of the artistic characteristics of the Chinese and the western drama, it puts forward a combination of the Chinese and the Western, the combination of freehand brushwork and realism. To create a view of freehand brushwork drama with Chinese national characteristics. The third part mainly discusses the enlightenment effect of the freehand brushwork drama view on the exploration of nationalization of Chinese drama. To undertake the drama concept of the "National Opera Movement", the "Southern Society" presided over by Tian Han in the same period played the banner of the "New National Opera Movement"; later, the "National Drama Movement" was mainly carried out by GanJiang Xiong Foxi in Dingxian County, Hebei Province, where he carried out the practice of "Farmer's Drama". In the 1940s, Jiao Juyin put forward the idea that the drama should learn from the traditional opera in the discussion of "nationalization of the Modern Drama". Then in the 1950s and 1960s, Huang Zuolin clearly put forward the "view of freehand brushwork drama" and put it into practice. Both show their immortal contribution to the modernization of Chinese drama. On the basis of summing up the content of the full text, the conclusion makes an objective evaluation of the "National Opera Movement", in order to arouse the attention of the contemporary academic circles, and at the same time, to make the "National Opera Movement" to be further recognized and paid attention to. The revaluation provides a reference value.
【學位授予單位】：河南大學
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：J809.2
[Abstract]:The National Opera Movement, which took place in the 1920s, is an important reform attempt in the reform of modern Chinese drama. It is accompanied by the criticism tradition of the May 4th New Culture Movement, advocates the westernization trend, dares to risk the universal condemnation, and devotes itself to the creation of the Chinese New Drama, "National Drama" with its unique angle of view of the comparison between Chinese and Western dramas. The "Chinese Opera Movement" advocates the idea of combining the freehand brushwork of Chinese traditional opera with the realism of modern western drama, and takes a solid step forward in exploring the nationalization of Chinese drama. It provides great enlightenment to the exploration of nationalization of Chinese drama after this. The paper combs the background of the occurrence of the "National Opera Movement", the beginning and end of the movement and the main theatrical ideas advocated. On this basis, the author puts emphasis on the freehand brushwork drama view of the "National Opera Movement" and its enlightening effect on the exploration of nationalization of Chinese drama. This paper attempts to present the real historical situation of the "National Opera Movement", and to take an objective and fair attitude to study the "National Opera Movement" 's view of freehand brushwork drama and its influence, in order to re-evaluate its historical consciousness and literary value. The paper consists of three parts: introduction, text and conclusion. The introduction mainly explains the significance and current situation of the study of the National Opera Movement and its view of freehand brushwork drama. The main part of the thesis discusses the "National Opera Movement" and its freehand brushwork drama view in detail, and explains the exploration of various forms of nationalization of drama under the influence of the "National Opera Movement" drama view. The first part mainly expounds the historical background and the process of rise and fall of the National Opera Movement. In the historical context of the May 4th New Culture Movement, the "National Opera Movement" began to reflect on the May 4th Movement and return to tradition together with the Movement of rhyming Poems. It was initiated by a group of American drama students after seeing the different characteristics of Chinese and Western dramatic arts, and put forward many unique dramatic ideas, but it finally moved to a tragic end because of the cruel times. The second part mainly explains the view of freehand brushwork drama in the National Opera Movement. The main historical achievement of the "Chinese Opera Movement" lies in the creation of the Chinese New Drama, "the State Drama", so what is the "National Opera", and how to create the "National Opera" becomes the focus of the "National Opera Movement". After reappraising the traditional Chinese opera, the "Chinese Opera Movement" confirms the freehand brushwork characteristics of the Chinese traditional opera, and on the basis of the comparison of the artistic characteristics of the Chinese and the western drama, it puts forward a combination of the Chinese and the Western, the combination of freehand brushwork and realism. To create a view of freehand brushwork drama with Chinese national characteristics. The third part mainly discusses the enlightenment effect of the freehand brushwork drama view on the exploration of nationalization of Chinese drama. To undertake the drama concept of the "National Opera Movement", the "Southern Society" presided over by Tian Han in the same period played the banner of the "New National Opera Movement"; later, the "National Drama Movement" was mainly carried out by GanJiang Xiong Foxi in Dingxian County, Hebei Province, where he carried out the practice of "Farmer's Drama". In the 1940s, Jiao Juyin put forward the idea that the drama should learn from the traditional opera in the discussion of "nationalization of the Modern Drama". Then in the 1950s and 1960s, Huang Zuolin clearly put forward the "view of freehand brushwork drama" and put it into practice. Both show their immortal contribution to the modernization of Chinese drama. On the basis of summing up the content of the full text, the conclusion makes an objective evaluation of the "National Opera Movement", in order to arouse the attention of the contemporary academic circles, and at the same time, to make the "National Opera Movement" to be further recognized and paid attention to. The revaluation provides a reference value.
【學位授予單位】：河南大學
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：J809.2
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