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自1922年尤金·奥尼尔被介绍进中国,至今已历90周年。90年中,中国在翻译、评论、上演及借鉴其创作方面,先后于20世纪30年代和80年代出现了两次高峰。前期影响主要体现在为曹禺、洪深等提供创作助缘,却被连天烽火阻断了发展行程;后期影响主要体现在学者们的研究和阐发,在戏剧界却未受到应有的重视。考察这一旅程,不仅可以了解一个民族接受外来作家的规律,还可考察中国现代戏剧发展中的得与失。
Eugene O’Neill has been introduced into China since 1922 and has been celebrating its 90th anniversary so far. In the past 90 years, China witnessed two peaks in the 1930s and 1980s in translation, commentary, staging and drawing on its creations. The early impact is mainly reflected in the provision of creative assistance for Cao Yu and Hong Shen. However, it was blocked by the flames of development in the future. The latter part of the impact was mainly reflected in the research and elucidation by scholars. However, it was not paid due attention by the drama industry. Examining this journey can not only understand the law of a nation accepting foreign writers, but also examine the gains and losses in the development of modern Chinese drama.