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80年代后,中国戏剧研究有了很大进步,研究成果层出不穷,产生了很多有价值的论著。但是大部分研究者把视野局限在30年代以后,晚清到五四的戏剧状况一直处于薄弱的处境。这就使得现代中国话剧的源头和性质缺少历史阐释与理论概括。如何看待甲午战争至五四三十年间中国话剧创始者的戏剧实践,如何看待三十年间特别是“甲寅”前后的通俗化尝试?现有的戏剧史所作的描述和评价均有简单化的嫌疑。陈龙所著的《中国近代通俗戏剧史论》一书的出版,适时地填补了这一空白,该书的出版不仅是作者学术功底的显现,在戏剧史上也具有重要意义。作者在序言中就阐明了自己的写作立场,表明自己“并非是一种从提出问题到解决问题的专论著作,或者是一部按时间顺序叙写的‘史’书,它只是从通俗文学角度和
After the 1980s, great progress has been made in the study of Chinese drama, research results emerge in endless streams, and many valuable works have been produced. However, most researchers limited their horizons to the thirties after the late Qing Dynasty to the May Fourth drama situation has been in a weak situation. This makes the source and nature of modern Chinese drama lacks historical interpretation and theoretical summary. How to treat the dramatic practice of the Chinese drama founders during the Sino-Japanese War from the Sino-Japanese War to the 1950s and the 1940s? How to treat the popularization attempts before and after the “Yinyin” in the past 30 years? The description and evaluation of the existing drama history are simplified Suspected. The publication of Chen Long’s book “On the History of Modern Chinese Popular Drama” fills in this gap in due course. The publication of this book is not only the manifestation of the academic foundation of the author, but also of great significance in the history of the drama. In the preface, the author clarified his own writing position and showed that he is "not a monograph from asking questions to problem solving, or a chronological narration of ’history’ books, but only from popular literature Angle and