莆仙戏《魂断鳌头》的悲剧观探究  

Probe into the Tragedy Sense of Puxian Opera the Number One Scholar's Death

作　　者：温彩云[1] WEN Caiyun

机构地区：[1]东北师范大学传媒学院

出　　处：《浙江艺术职业学院学报》2017年第1期56-59,112,共5页Journal of Zhejiang Vocational Academy of Art

基　　金：教育部人文社科项目<晚清民国女性报刊对国民性别观的现代性启蒙研究>(16YJC860019);吉林省社会科学基金项目<网络传播视角下公众公平感的生成机制与策略研究>(2013B88)系列成果之一

摘　　要：与西方戏剧理论及创作相比,中国传统戏曲中的悲剧创作并不丰富,悲剧观念与西方也有差别。五四时期之后,西方悲剧理论传入中国,对中国戏剧理论产生了重要的影响,并逐渐融入中国现代悲剧观。中国现代悲剧观在悲剧的起源论、悲剧冲突论和悲剧人物性格论等方面有不同于传统戏剧的特点。从上述三方面来探究莆仙戏《魂断鳌头》,发现其外在形式上沿袭了地方戏的传统样式,内在悲剧观更具现代戏剧悲剧观的特点,但是由于作者观念的限制,现代悲剧观中又残留了部分传统戏剧的观念,表现出传统与现代二者之间的交织矛盾的状态。可以说,《魂断鳌头》中所体现的这种现代悲剧观为主体,其间又杂糅了传统悲剧观的特点也是新编传统地方剧种在当代文化环境下生存困境和编剧悲剧意识生长土壤的一个微妙体现。Compared with the Western tragedy creation and theory, traditional Chinese tragedy is not so rich and is different in tragedy sense. After the May Fourth Movement, Western tragedy theory began to affect Chinese tragedy theory and became a part of modern Chinese tragedy theory. Modern Chinese tragedy theory is different from traditional one in the origin, conflict and personality of characters. If we study the Puxian Opera the Number One Scholar＇s Death, it has the form of Chinese regional opera and the theory of modern tragedy. But because of the limitation of the author, its tragedy theory contains some traditional opera concepts. On the whole, the Number One Scholar＇ s Death is a hybridity of traditional and modern tragedy theory. This is a survival dilemma of the creation of regional opera and a condition reflecting the dramatist＇ s tragedy sense.

关 键 词：莆仙戏 《魂断鳌头》 悲剧观 地方戏 

分 类 号：J801[艺术—戏剧戏曲]