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中国戏剧进入现代后,能“真正在漫长的中国戏剧史上开辟了一个崭新历史阶段,在新文化运动中占有突出的历史地位,并在现代戏剧史上起着主导作用的,则是新兴的话剧”。①所以,从不同戏剧种类在中国戏剧历史中的地位变化的角度看,中国戏剧在现代最重要的发展是戏剧形态的变化,即由古典形态的戏曲一变而为现代形态的话剧。从世纪之交开始的这一历史性变化,经过二十多年的艰难历程,在“五四”新文化运动后的二十年代最终完成。因此,本文论及的“五四”话剧并不仅仅是“五四”时期的话剧,还包括在“五四”思潮强烈影响下并在本质上体现“五四”精神的整个二十年代的话剧。对于这一历史性转变的历史必然性,许多学者已从不同角度进行了充分而深刻的论证,本文只是从寻找中国戏剧史研究的新角度作努力,当然,其背后也隐藏着某种超越的奢望。
After entering the modern age, Chinese theater can “truly open up a whole new historical stage in the long history of Chinese drama, occupy a prominent historical position in the New Culture Movement and play a leading role in the history of modern drama, . Therefore, from the perspective of the change of the status of different types of drama in the history of Chinese drama, the most important development of Chinese drama in the modern era is the change in the form of theater, that is, the change from a classical form of drama to a modern form of drama. This historic change from the turn of the century has finally been completed in the 1920s after the May 4th New Cultural Movement after more than two decades of hard journey. Therefore, the ”May 4th" drama discussed in this article is not merely a drama in the period of the May 4th Movement, but also includes the entire 1920s, under the influence of the May 4th ideological trend and the essence of the May 4th Movement Drama. For the historical inevitability of this historic transformation, many scholars have made a full and profound argument from different perspectives. This article only works hard to find a new perspective of the study of the history of Chinese drama, of course, behind which there is also some hope of surpassing .