艺术之瓶里的希望之花——新月派戏剧美学观  

A Flower of Hope in the Vase of Art——A New Crescent Perspective on Dramatic Aesthetics

作　　者：杨新刚[1] 

机构地区：[1]山东师范大学文学院,250014

出　　处：《中国文学研究》2005年第4期27-30,共4页Research of Chinese Literature

摘　　要：新月派的戏剧理论观在中国新文学的戏剧美学建设方面是独树一帜的。它既不同于《新青年》派的尚用的戏剧观,也不同于同期“南国社”尚美的戏剧观,更不同于稍后勃然兴起的左翼戏剧理论。新月派的戏剧美学观主要体现在三个方面:1)、多维戏剧观的探讨、建构;2)、反对戏剧生活化和功利化;3)、以古典主义为其戏剧理论建构的深层内核。虽具有浓重的古典主义色彩,新月派的戏剧理论建构却着眼于传统戏曲的现代性转换,具体体现在其倡导的“国剧运动”之中。New Crescent dramatic theory has its own peculiarities in the dramatic aesthetics construction of China＇s new literature. It is different from the dramatic theory of New Crescent school which stresses pragmatics, from that of Nanguo school which stresses aesthetics and from that of Left Wing which flourishes shortly afterwards. New Crescent dramatic theory marks itself mainly in the following three aspects：（ 1 ）a tentative construction of. a multidimensional dramatic theory （2）objection to the theory that drama is the same as real life and that drama is a tool （3）taking classicism as the inner core of its dramatic theoretical construction. Although New Crescent dramatic theory has a strong flavor of classicism, its theoretical construction centers on the transformational modernization of the traditional dramatic theories, as is manifested in the National Theatre movement advocated by the New Crescent school.

关 键 词：新月派 戏剧美学观 

分 类 号：I206.2[文学—中国文学]