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本文开头简要介绍日本社会学家富永健一的现代化理论,并据之分析发生于日本明治时期戏剧领域的早期现代化/西化。通常说来,一部戏剧作品有两个方面,剧本和表演。所以戏剧的现代化也可以从两个相对独立的方面进行,并且不一定同步。非西方国家的现代化,总是物质方面易于文化或精神方面。因此在戏剧领域,表演,即物质或外在的方面,现代化的步伐要快过剧本创作,即文化或内在的方面。也因此,不同方面或元素的组合,在日本戏剧现代化过程中呈现出复杂、纠结的局面。本文探讨“新剧”之前日本戏剧现代化不同阶段——壮士芝居、新歌舞伎、新戏剧和新派——中的各种问题。
This article begins with a brief introduction to the Japanese sociologist Fuyong Kenkyu’s theory of modernization and, based on this analysis, takes place in the early modernization / westernization of the theater in Japan during the Meiji period. In general, a dramatic work has two aspects, a script and a show. Therefore, the modernization of drama can also be carried out from two relatively independent aspects, and may not be synchronized. The modernization of non-Western countries is always materialistic or spiritual in material terms. Therefore, in the field of theater, performance, that is, material or external, the pace of modernization should be faster than that of scriptwriting, that is, culture or internal aspects. Therefore, the combination of different aspects or elements presents a complicated and entangled situation in the process of Japanese drama modernization. This article explores various issues in the different stages of the modernization of Japanese drama, such as Shizuru, Kabuki, the New Drama and the New School, before “New Drama.”