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1940年代的沦陷区上海,舞台上出现了一批由熟习欧文的知识人创作的话剧杰作——《清官怨》《荒岛英雄》《梁上君子》《称心如意》《弄真成假》《倾城之恋》。本文聚焦于这批优秀的剧本及其作者,首先考察了当时的语境,指出:以日本对华新政策出台的1942年为界,进入沦陷后期。正是在这一特殊的时空,话剧的繁荣得以实现。通过对文本的细读,得出以下结论:这批话剧作品继承了“五四”追求自由与平等的精神,却又以一种更为丰富复杂的方式呈现——摒弃了“自由与不自由、平等与不平等”的二元对立的方式,展现了不自由中的自由及不平等中的平等,创造出一种“参差的对照”美学。
In the 1940s occupied area of Shanghai, there appeared a series of masterpieces of drama created by people familiar with Owen’s knowledge - “honest and resentful people”, “desert island hero”, “gentleman” love“. Focusing on these excellent scripts and their authors, this article first examines the context of the time and points out that in 1942, Japan’s new China policy was adopted, it entered the later period of its occupation. It is in this special time and space that the prosperity of drama can be realized. Through the careful reading of the text, the following conclusions can be drawn: The works of this series of dramas inherit the spirit of pursuing freedom and equality in the May Fourth Movement, but are presented in a more complicated way - abandonment of freedom And the non-liberty, equality and inequality ”show the equality in the non-freedom and inequality and create a kind of“ mixed control ”aesthetics.