“国剧运动”的历史检讨
发布时间：2018-10-23 14:18
【摘要】： “国剧运动”派在中西戏剧比较中获得了新的学术视角,提出了创建民族戏剧的理论主张,打破了中西戏剧二元对立的思维模式,开启了话剧民族化的进程。本文主要从四个部分论述“国剧运动”的历史过程,通过考察其理论构想、戏剧观念、发生原因和理论贡献与局限等,对其进行历史检讨,以期恢复“国剧运动”的原貌,并给以公允的评价。 第一部分论述了“国剧运动”的发生过程。在现实的逼仄之下“国剧运动”派建设国剧的设想最终成了一个“半破的梦”。但是他们在理论上进行了积极的探索:内容上的中国的材料——呼吁戏剧家走入民族生活的深处写出民族的自然精神;形式上的中国戏——立足于“写意”,围绕怎样处理唱腔、程式和舞美,构建了国剧的理论大厦,用西方的形意舞蹈改造旧戏动作的设想,成了沟通写实话剧和写意戏曲的桥梁。 第二部分论述了“国剧运动”派的戏剧观念。他们看到了文学对戏剧的重要性,纠正了清末以来戏曲对纯粹技艺的追求和对角色的依赖,给戏曲注入了表现现实生活的活力,这构成了其戏剧理论的现代基础;他们强调了对戏曲形式的保留,通过戏曲的舞蹈动作可以弥补话剧表现人物内心活动的不足。他们对戏剧功能的界定是用美的形式打动人、感染人、安慰人,让观众在美的形式中获得感官的愉悦。同时,他们还把现代舞台表演,系统地介绍到中国戏剧界,把案头剧研究指向了现实的舞台表演,探讨了戏剧舞台表演的各种要素的综合性、表演的技巧、观演关系、舞美设计等等。 第三部分探讨了“国剧运动”发生的原因。余上沅等人留学欧美,清醒地看到写实话剧面临的困境:幻景舞台无法真正还原现实。他们发现西方戏剧的弊端之后开始从本民族的戏剧中寻找出路,从戏曲舞台的虚拟性出发找到了破解写实话剧无法完全复制现实的困境,这给他们进行“国剧运动”增加了巨大的信心。此外,爱尔兰戏剧运动使他们看到民族文学存在的合理性,带来了发展民族戏剧的自信。 第四部分论述了“国剧运动”的理论贡献与局限。话剧作为舶来品,在引进之初就面临着水土不服的问题,全盘西化不能得到中国观众的认可,对戏曲局部的改良也无法使之走上健康发展的道路。“国剧运动”派提出创建民族戏剧的设想,要在写意和写实间架起一座“金桥”,结合二者的优势使中国戏剧走上民族化的道路,开启了话剧民族化的进程。但是他们追求戏剧的艺术性的观念与当时中国社会现实有着严重的隔膜,希冀社会的帮助更显得一厢情愿,社会不需要这种首先着眼艺术的戏剧,他们的失败是必然的。
[Abstract]:In the comparison of Chinese and Western dramas, the "National Opera Movement" got a new academic angle of view, put forward the theoretical proposition of creating national drama, broke the mode of thinking of dual opposition between Chinese and Western drama, and opened the process of nationalization of modern drama. This paper mainly discusses the historical process of the "National Opera Movement" from four parts, through examining its theoretical conception, dramatic concept, causes of its occurrence, theoretical contribution and limitation, and so on, carries on the historical review to it, in order to restore the original appearance of the "National Opera Movement". And give a fair evaluation. The first part discusses the process of the "National Opera Movement". Under the realistic pressure, the idea of building a national drama of the "National Opera Movement" finally became a "half-broken dream". But they made a positive exploration in theory: the Chinese material in content called upon the dramatists to go deep into the national life to write the natural spirit of the nation; the formal Chinese opera was based on "freehand brushwork". Focusing on how to deal with singing, programming and dance beauty, the theoretical edifice of Chinese opera was constructed, and the idea of transforming the old opera action with western figurative dance became a bridge between realistic drama and freehand brushwork. The second part discusses the drama concept of the National Opera Movement. They saw the importance of literature to the drama, corrected the pursuit of pure skill and the dependence on the role in the opera since the late Qing Dynasty, and injected the vitality of the real life into the drama, which formed the modern foundation of his drama theory. They emphasize the reservation to the form of opera, which can make up for the deficiency of the inner activities of the characters. Their definition of drama function is to impress, infect and comfort people with the form of beauty, and to make the audience obtain sensory pleasure in the form of beauty. At the same time, they also introduced the modern stage performance systematically to the Chinese theatrical world, pointed the desk drama research to the real stage performance, discussed the synthesis of the various elements of the theatrical stage performance, the performing skill, and the relationship between watching and performing. Dance design and so on. The third part discusses the causes of the National Opera Movement. Yu Shangyuan and others studied in Europe and America, soberly saw the dilemma that realistic drama faced: the stage of illusion could not truly restore reality. After they discovered the malpractice of western drama, they began to find a way out from their own national drama, and from the fictitious nature of the stage of drama, they found out the dilemma that realistic drama could not be completely copied into reality. This gave them a great deal of confidence in the National Opera Movement. In addition, the Irish drama movement made them see the rationality of the existence of national literature and brought confidence in the development of national drama. The fourth part discusses the theoretical contributions and limitations of the National Opera Movement. As an import, the drama is faced with the problem of water and earth at the beginning of its introduction. The Westernization can not be approved by the Chinese audience, and the improvement of the part of the opera can not make it develop healthily. The "National Opera Movement" proposed the idea of creating national drama, which should set up a "golden bridge" between freehand brushwork and realistic writing, and combine the advantages of the two to make the Chinese drama take the road of nationalization and open the process of nationalization of modern drama. However, their pursuit of the artistic nature of drama has a serious gap with the reality of Chinese society at that time, and it seems wishful thinking that the society will help it. The society does not need this kind of drama which focuses on art first, and their failure is inevitable.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J809.2
本文编号：2289495
[Abstract]:In the comparison of Chinese and Western dramas, the "National Opera Movement" got a new academic angle of view, put forward the theoretical proposition of creating national drama, broke the mode of thinking of dual opposition between Chinese and Western drama, and opened the process of nationalization of modern drama. This paper mainly discusses the historical process of the "National Opera Movement" from four parts, through examining its theoretical conception, dramatic concept, causes of its occurrence, theoretical contribution and limitation, and so on, carries on the historical review to it, in order to restore the original appearance of the "National Opera Movement". And give a fair evaluation. The first part discusses the process of the "National Opera Movement". Under the realistic pressure, the idea of building a national drama of the "National Opera Movement" finally became a "half-broken dream". But they made a positive exploration in theory: the Chinese material in content called upon the dramatists to go deep into the national life to write the natural spirit of the nation; the formal Chinese opera was based on "freehand brushwork". Focusing on how to deal with singing, programming and dance beauty, the theoretical edifice of Chinese opera was constructed, and the idea of transforming the old opera action with western figurative dance became a bridge between realistic drama and freehand brushwork. The second part discusses the drama concept of the National Opera Movement. They saw the importance of literature to the drama, corrected the pursuit of pure skill and the dependence on the role in the opera since the late Qing Dynasty, and injected the vitality of the real life into the drama, which formed the modern foundation of his drama theory. They emphasize the reservation to the form of opera, which can make up for the deficiency of the inner activities of the characters. Their definition of drama function is to impress, infect and comfort people with the form of beauty, and to make the audience obtain sensory pleasure in the form of beauty. At the same time, they also introduced the modern stage performance systematically to the Chinese theatrical world, pointed the desk drama research to the real stage performance, discussed the synthesis of the various elements of the theatrical stage performance, the performing skill, and the relationship between watching and performing. Dance design and so on. The third part discusses the causes of the National Opera Movement. Yu Shangyuan and others studied in Europe and America, soberly saw the dilemma that realistic drama faced: the stage of illusion could not truly restore reality. After they discovered the malpractice of western drama, they began to find a way out from their own national drama, and from the fictitious nature of the stage of drama, they found out the dilemma that realistic drama could not be completely copied into reality. This gave them a great deal of confidence in the National Opera Movement. In addition, the Irish drama movement made them see the rationality of the existence of national literature and brought confidence in the development of national drama. The fourth part discusses the theoretical contributions and limitations of the National Opera Movement. As an import, the drama is faced with the problem of water and earth at the beginning of its introduction. The Westernization can not be approved by the Chinese audience, and the improvement of the part of the opera can not make it develop healthily. The "National Opera Movement" proposed the idea of creating national drama, which should set up a "golden bridge" between freehand brushwork and realistic writing, and combine the advantages of the two to make the Chinese drama take the road of nationalization and open the process of nationalization of modern drama. However, their pursuit of the artistic nature of drama has a serious gap with the reality of Chinese society at that time, and it seems wishful thinking that the society will help it. The society does not need this kind of drama which focuses on art first, and their failure is inevitable.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J809.2
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