熊佛西话剧民族化的探索与实践
发布时间：2018-11-19 17:54
【摘要】：一部20世纪中国话剧史,在某种程度上说,就是西方话剧在中华大地上生根、萌芽、成长并逐渐民族化的历史。话剧艺术自传入中国伊始,就面临着中与西、新与旧和文化功能等方面的问题。所以如何实现话剧艺术与古老的民族和艺术相互磨合,实现这一外来艺术与本土文化的完美嫁接就成了一代又一代知识分子不断探索和实践的课题。作为中国早期话剧的拓荒者之一,熊佛西的名字一度与中国早期话剧的发展联系在一起。熊佛西穷其一生把所有的精力和心血都花在话剧事业上,在话剧艺术理论、话剧创作、舞台演出、戏剧教育及话剧艺术如何走向大众方面做了多维度的努力和尝试。尤其难能可贵的是,与同时期的作家们相比,他没有沉迷于文学的象牙塔,而是亲力亲为,扎根农村,开展“大众化实验”,积极为话剧艺术的普及和发展探路,体现出一代知识分子追求真理、探寻艺术群众化的实践精神。本文试图以话剧民族化为突破口,以熊佛西一生在话剧艺术方面的贡献为线索,分三个层面,分别探讨其在话剧艺术理论、话剧创作及话剧实践方面对话剧民族化道路的探索和实践。 第一章《重视观众的戏剧理论》,主要讨论熊佛西在话剧理论方面的建树。通过还原长期以来尘封于历史中、淹没于集体声音中的“国剧运动”中熊佛西独特的声音,挖掘其对旧戏、对话剧艺术本体的态度。对戏剧本质论述突出其“动作性”、阐明戏剧具有可读可演性和作为整体艺术必须具有综合性,均体现出作家对“剧之为剧”的剧场性的重视,对观众的重视。趣味主义与单纯主义是熊佛西的重要戏剧理论,前者是从重视文艺自身规律出发,要求戏剧作品必须具有美感,具有吸引人的魅力,通过“娱乐”达到教育的目的。后者则是从经济的角度出发,考虑艺术投资的俭省和最大限度地争取观众的接受的目的,总之二者均是作家从考虑观众的角度提出。戏剧寓教于乐的社会功能,是熊佛西的戏剧教育理论,着重体现了其戏剧是民众教育最好方式的教育理念,使观众在看戏过程中更好地接受到教育,在受教育过程中能够得到愉悦。以上几点虽相互独立,但都体现出熊佛西对观众接受的重视。 第二章《戏剧创作中的民族化表征》,主要结合熊佛西的作品分析其民族化特征。话剧作为舶来品,是西方的产物,在传入中国后势必要有一个本土化的过程,经过一番改造,适当“变脸”,让中国观众更好地接受。书写民族内容,表现民族精神,创作的四个阶段,由不同时期的矛盾特殊性,分别从不同角度展示了不同群体和阶级的生活现状和精神风貌,记录了整个民族的反抗与抗争,崛起与繁荣。塑造民族性格,其笔下的丑角形象,农民形象和救赎者形象都具有鲜明的性格特征,带有明显的民族特色。符合民族的审美趣味,在写法上尊重了中国观众长期以来形成的习惯,借鉴了很多中国传统艺术形式。在看到其贡献的同时,对熊佛西戏剧在传统文化钳制下暴露出的对现代话剧精神的游离予以批判。 第三章《戏剧实践—戏剧是大众的艺术》,主要探讨熊佛西在戏剧实践方面的独特贡献。从三个角度进行论述。一是,戏剧大众化实验是熊佛西戏剧实践的重要方面,以其在河北定县的实践活动和其对大众化实验的理论阐述为切入点,辨析大众化与民族化的关系；二是,论述其在话剧演出形式上的民族化创新；三是,从学校教育和社会教育两个方面,探讨其在教育实践方面的探索努力。
[Abstract]:The history of the Chinese drama in the 20th century, to a certain extent, is the history of the western play to take root, sprout, grow and become nationalized in China. The drama art is faced with the problems of middle and west, new and old and cultural functions from the beginning of the introduction of China. So how to realize the interrunning of the drama art with the old people and the art, and realize the perfect grafting of the foreign art and the local culture is the subject of the continuous exploration and practice of a generation of intellectuals. As one of the pioneers of China's early play, the name of the bear-Buddha was once associated with the development of early Chinese drama. In his whole life, Xiong Fosi spent all his energies and efforts on the cause of the play, and made many-dimensional efforts and attempts in the art of the drama, the creation of the drama, the stage performance, the drama education and the art of the drama. It is especially hard to find that, as compared with the writers of the same period, he is not addicted to the ivory tower of literature, but is a parent, rooted in the countryside, carrying out the 鈥渕ass experiment鈥，
本文编号：2342996
[Abstract]:The history of the Chinese drama in the 20th century, to a certain extent, is the history of the western play to take root, sprout, grow and become nationalized in China. The drama art is faced with the problems of middle and west, new and old and cultural functions from the beginning of the introduction of China. So how to realize the interrunning of the drama art with the old people and the art, and realize the perfect grafting of the foreign art and the local culture is the subject of the continuous exploration and practice of a generation of intellectuals. As one of the pioneers of China's early play, the name of the bear-Buddha was once associated with the development of early Chinese drama. In his whole life, Xiong Fosi spent all his energies and efforts on the cause of the play, and made many-dimensional efforts and attempts in the art of the drama, the creation of the drama, the stage performance, the drama education and the art of the drama. It is especially hard to find that, as compared with the writers of the same period, he is not addicted to the ivory tower of literature, but is a parent, rooted in the countryside, carrying out the 鈥渕ass experiment鈥，
本文编号：2342996
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