政治化与世俗化的合流与悖反—上海剧艺社研究

发布时间：2018-06-24 14:22

  本文选题：上海剧艺社 + 政治化　； 参考：《南京大学》2012年博士论文

【摘要】：上海剧艺社("上剧")是孤岛时期存在时间最长、演出剧目和场次最多、演剧水准最高、社会影响最大的话剧团体,也是战后上海剧运的中坚力量。它以政治意识鲜明、市民色彩浓厚、艺术整一性较高的演剧实践推动了抗战及战后上海话剧的蓬勃开展,成为上海剧运的一面旗帜,也在中国现代话剧史上占有独特地位。本文就是关于"上剧"的专题研究。"导论"梳理"上剧"的演剧历程,简要分析其话剧史地位,并从中提炼出其政治化与世俗化的基本矛盾。政治化体现为传达政治理念、寄托政治诉求,并彰显出剧团本身的政治色彩;世俗化主要表现为思想意识的市民化、题材的世俗化、以及风格的通俗化,而组织管理的社会化、经营的市场化也与之密不可分。这一基本矛盾从根本上讲是由中国话剧的固有属性所决定,也与剧社自身的组织背景相关,更直接地则是由孤岛特殊形势型塑的,极大地影响着"上剧"的组织形式和艺术面貌。第一章探讨"上剧"的剧团组织。"上剧"希望成为一个职业化、自主化、市场化的艺术团体,并已建立起相对健全的组织机构,采取了较为科学的管理方式和较为灵活的经营策略,这表现出一定的职业化程度和社会化诉求,这是其世俗化取向的组织前提。"上剧"又是一个直接接受中共地下组织领导的剧团,中共代表的民间立场和进步政治趋向既有与自主化、社会化同步,从而促进剧运发展的一面;又因不可避免地继承左翼剧运的作风,带有一定的党派气息,从而束缚着剧社的职业化进程。为取得"合法"地位,"上剧"不得不对法租界当局有所依赖,这是对其自主性的侵蚀。同时,为了实现"以剧养剧"而采用的市场化策略难免沾染庸俗作风,这是对其世俗化的扭曲。剧人始终在政治、艺术、商业之间的夹缝中做着艰难的探索,心态微妙而复杂。第二章分析"上剧"的演出剧目。政治化与世俗化的基本矛盾在剧目方面体现为政治观念与市民意识的博弈,二者关系错综,时代性合流与内在性悖反并存。在孤岛特殊情境下,剧目的民族国家观念与现代市民意识呈现出明显的合流趋势;而战后剧坛回归"正常",二者的张力重新彰显。政治观念能够赢得观众的强烈共鸣,也会使剧目的艺术价值受损;市民意识既是争取观众的必要价值取向,也难免与艺术的媚俗化相连。这使"上剧"在一定程度上偏离了五四以来现代意义上个性化、平常化的"人的戏剧"轨道,制约了其剧目建设的更大成就。"上剧"古装剧大都卖座成功却少有精品力作,浓郁的政治气息和古今之间的不平衡想象,使它赢得了暂时的观众而失却了艺术的经典;翻(改)译剧数量最多,可中西对接的错位令其未能打造出真正的舞台佳作;现实剧形成"诗与俗的化合"的基本风格,最能代表"上剧"的艺术精神,"诗"与"俗"的融汇或失衡往往影响着剧目成就的大小、艺术价值的高低。第三章论述"上剧"的舞台艺术。在创作经验不足、物质条件有限的情况下,"上剧"的舞台艺术取得了令人钦佩的成绩。它对舞台艺术整体性的追求、对导演格调多样化的实验、对向心演技的磨炼、对舞台美术严谨性与创新性的探索,都曾引领时代潮流。然而,"上剧"毕竟处于一个承上启下的过渡时期,自身所有以及时代加于它的诸多局限束缚着它的进一步发展,其舞台艺术正处于"在路上"的动态发展过程中,既生机勃勃又不可避免地带有历史性缺憾。"上剧"的成就与局限都属于一个时代,而政治意识和世俗作风的渗透对舞台艺术整体性的影响,亦是其中的教训之一。"结语"探讨"上剧"的经验教训及其对当下话剧的启示。中国话剧的政治性与生俱来,但政治性并非话剧艺术的必要属性;世俗性是话剧艺术的应有品格,但世俗化理应是有限度的。直面政治、对话政治而避免为政治所"化",走向世俗、拥抱世俗又远离庸俗、避免媚俗,是中国话剧发展的应然选择。
[Abstract]:The Shanghai Drama Society ("drama") is the longest time in the island period, the most dramatic performance and the field, the highest play level, the most influential drama group, and the backbone of the post-war Shanghai opera. It has a strong political consciousness, a strong citizen color, and the high art practice promoted the war of Resistance War and the post-war Shanghai drama. Vigorous development has become a banner of Shanghai opera, and also occupies a unique position in the history of modern Chinese drama. This article is about the special study of "drama". "Introduction" combs the course of drama, analyzes the status of the history of drama briefly, and extracts the basic contradiction between political and secularization. The political appeal was placed and the political color of the troupe itself was highlighted; secularization was mainly manifested by the citizenization of the ideology, the secularization of the subject matter, and the popularization of the style, and the socialization of organization and management and the marketization of the management. This basic spear shield was fundamentally determined by the inherent attributes of Chinese drama. It is also related to the organizational background of the drama society itself, and it is more directly shaped by the special situation type of the island, which greatly affects the organizational form and artistic appearance of the "drama". Chapter 1 discusses the organization of the "drama". "Shang opera" hopes to become a professional, autonomous and marketable art group, and has established a relatively sound organization. A more scientific management mode and a more flexible management strategy have been adopted, which shows a certain degree of professionalism and social demands. This is the organizational premise of its secularized orientation. "Shang opera" is also a troupe directly accepting the leadership of the underground organization of the Communist Party of China, the civil stand of the Communist Party of China and the progressive political trend are both independent and independent. In order to achieve "legal" status, "Shang opera" has to rely on the legal concession authority, which is eroded to its autonomy. At the same time, in order to achieve "play drama". "The marketization strategy adopted is unavoidable to be stained with vulgar style, which is the distortion of its secularization. The dramatists have always made difficult exploration in the gap between politics, art and commerce. The second chapter analyzes the performance repertoire of" drama ". The basic contradiction between politicization and secularization is embodied in political ideas and cities in the play. The game of the people's consciousness, the relationship of the two is intricate, the times confluence and the inherent paradox coexist. In the special situation of the island, the national concept of the national state of the drama and the modern citizen consciousness show a clear confluence trend; but after the war, the drama return is "normal" and the tension of the two is reappearing. The political idea can win the strong resonance of the audience, and also make the play. The artistic value of the purpose is impaired; the citizen consciousness is not only the necessary value orientation for the audience, but also inevitably connected with the art of the vulgarization. This makes "the drama" to some extent deviated from the individualization of the modern meaning of 54, and the normalization of the "human drama" track has restricted the greater achievement of its repertoire. However, there are few excellent works, strong political atmosphere and unbalanced imagination between ancient and modern times, which make it win the temporary audience and lose the classic of art; the number of translation plays is the most, and the misalignment of the Chinese and Western docking can not create a real stage masterpiece; the realistic drama forms the basic style of "the combination of poetry and vulgarity", which is the most representative of the "Shang". The artistic spirit of "drama", "the fusion or unbalance of" poetry "and" "vulgar" often affects the size of the achievement of the drama and the high and low value of the art. The third chapter discusses the stage art of "the drama". In the case of lack of creative experience and the limited material conditions, the stage art of "the drama" has got admirable achievements. The variety of experiments, the refining of the centripetal acting and the exploration of the rigor and innovation of the stage art have led the trend of the times. However, the "Shang opera" is in a transitional period after all, and its own and its many limitations bound its further development, and its stage art is on the "road". In the process of dynamic development, it is both lively and inevitable. The achievements and limitations of the "drama" belong to an era, and the influence of political consciousness and secular style on the integrity of the stage art is one of the lessons. "Conclusion" discusses the lessons of the "drama" and Its Enlightenment to the present drama. The political nature of Chinese drama is innate, but political nature is not the essential attribute of drama art; secularity is the due character of drama art, but secularization should be limited. Facing politics, dialogue politics, avoiding the "transformation" for politics, moving towards secularity, embracing secularity, avoiding vulgarity and avoiding kitsch, is the choice for the development of Chinese drama.
【学位授予单位】：南京大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：J824
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本文编号：2061817