扮装、反讽与乌托邦——丁西林喜剧的越界想象与异质空间  

Role-acting,Irony and Utopia in Ding Xilin's Comedies

作　　者：韩琛[1] 

机构地区：[1]青岛大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2011年第4期113-120,共8页Drama:The Journal of the Central Academy of Drama

摘　　要：在现代中国戏剧史上,丁西林喜剧是一个意义独特的存在。从"五四"时期的《一只马蜂》到"抗战"时期的《妙峰山》,再到1962年的《智取生辰纲》,丁西林的戏剧创作形成了一个具有内在连续性的喜剧世界。其中,通过人物扮装颠覆社会象征秩序的压抑,从而构成狂欢般的越界想象;藉由言语讽喻超越现实世界的羁绊,从而完成一个乌托邦空间的虚构;以及通过混融西方形式与本土传统,从而形成一种兼具现代性与本土性的中国现代喜剧范式;则是构成其意涵丰富的喜剧世界的三个关键脉络。Ding Xilin made himself a unique presence in modern Chinese drama with his comedies that grow into a coherent comic world from A Wasp during the May-Fourth period to The Miao Feng Mountain during the War against Japanese Invasion to Capturing Birthday Gifts by Ruse in 1962. Three important features may be found in his works. First, the social order in the real world is turned over through role-acting, in the carnival-like imagination where conventional borders are broken. Second, the limits of the real world are pushed away by ironic words to make place for a utopian world. And third, the western and local traditions are mixed to create a new paradigm of comedy that is both modern and local.

关 键 词：丁西林 喜剧 戏中戏 扮装 反讽 乌托邦 

分 类 号：I207.3[文学—中国文学]