论南社时事剧创作的新变与回归  

New Approaches and Tradition Adherences in Nanshe's Time Drama Composition

作　　者：赵霞[1] 

机构地区：[1]河南理工大学文法学院,河南焦作454003

出　　处：《南京理工大学学报（社会科学版）》2017年第4期7-13,共7页Journal of Nanjing University of Science and Technology：Social Sciences

基　　金：河南理工大学青年骨干项目"文化融合视野下的近代戏剧改良研究"阶段性成果(项目编号:672105/203);河南理工大学国家社科基金预研项目"中西文化融合背景下的南社文学研究"阶段性成果(项目编号:GSKY2017-46)

摘　　要：南社时事剧在晚清时事剧创作中颇具典型意义,其所表现出对传播媒介的双向依赖、对作品创作形式的侧重与调整、在受众群体定位时的目光所及、与活报剧因素的交叉缠绕都成为近代以传统戏剧表达当局政事的鲜活代表。经历辛亥后的短暂失语,以欧阳予倩为代表的南社人从戏剧本体出发,树立大格局意识,一定程度上实现了戏剧创作理念上的回归与升华。南社时事剧创作新变与回归的历程,恰可视为中国近代俗文学艰难成长的缩影。Nanshe＇s time drama composition has a profoundly typical significance in this literary style of the late Qing Dynasty.It displays a two-way dependence on media,a focus shift and adjustment to composition forms. Both its influence in the specific audience communities,and its intermingle with street dramas make it a vivid representative to report current affairs in the form of traditional dramas. After a brief aphasia after the 1911 Revolution,Nanshe playwrights represented by OUYANG Yuqian started from drama ontology itself,established a consciousness of overall vision,and achieved both an adherence to and sublimation of drama composition concepts. The process of Nanhe＇s searching for new approaches and tradition adherences reflects the arduous growth of contemporary Chinese pop literature.

关 键 词：南社时事剧 新变 回归 

分 类 号：I206[文学—中国文学]