商业化面孔下的政治呼唤——从《托斯卡》到《金小玉》  

A Political Appeal Behind Commercialization:Form La Tosca to Jin Xiaoyu

作　　者：马晓冬[1] 

机构地区：[1]北京外国语大学中文学院

出　　处：《中国比较文学》2016年第3期51-63,39,共14页Comparative Literature in China

基　　金：北京外国语大学中央高校基本科研业务费专项基金资助项目"抗战时期李健吾的改编剧研究"(2013JJ005)之成果

摘　　要：本文通过具体分析李健吾在上海沦陷时期的改编剧《金小玉》,探讨作者在沦陷区特殊环境下对原作进行的某些去政治化处理、该剧的商业化追求以及剧作内在的政治寓意,并由此考察沦陷区话剧政治和商业之间复杂的铰接关系:看似是去政治化的营业追求,可能是进行更有效政治呼唤的某种支点,而商业化话剧本身又把政治当作一种可资利用的资源,以具有政治意义的宣泄召唤着更多的观众。Based on the analysis of Li Jianwu＇s adaptation Jin Xiaoyu from a French play La Tosca during the period of the Japanese occupation of Shanghai, this paper shows his depoliticization of the original work by downplaying its political elements during the politi- cally charged circumstances of the occupied Shanghai. Moreover, the paper examines how the original was adapted with the consideration of commercial success. More importantly, the paper also analyzes the political connotations and significance of the adaptation and per- formance. This case study examines the complex relationship between politics and commer- cial success of this play. On one hand, the commercial operation and success may function as a support for political appeal and reduce the political risk of the play in the occupied area, on the other hand, the play can utilize politics as valuable resource to attract audiences by catharsis with political significance.

关 键 词：李健吾 沦陷区戏剧 《托斯卡》 《金小玉》 

分 类 号：I106.3[文学—世界文学]