社会变革与戏剧革新——重审“五四”戏曲论争的议题与难题  

Social Transformation and Dramatic Innovation: A Re-examination of the Issues and Problems of the Controversy About Chinese Opera During May Fourth Period

作　　者：胡洋[1] HU Yang(Department of Chinese Literature and Language,Peking University,Beijing 100871,China)

机构地区：[1]北京大学中文系,北京100871

出　　处：《烟台大学学报（哲学社会科学版）》2018年第6期52-59,共8页Journal of Yantai University(Philosophy and Social Science Edition)

摘　　要："五四"前后发生的关于中国旧戏与新戏的文化论争,是晚清以来围绕中国传统戏曲展开的第一次全面的、激烈的理论性论争。论争以《新青年》等报刊为核心阵地展开,唱腔、脸谱、武戏等传统戏曲的表现形式成为了讨论的焦点。在这场旧戏存废之争中,议题从来都不只是对传统戏曲价值的重估,更重要的是对戏剧形式变革与社会变革之间关系的把握。新旧两派的不同革新方案,其实质是选择了以不同的戏剧形式来应对当时社会环境的变化。"新戏"的诞生不是一个简单的形式上破旧立新的问题,而是戏剧形式如何与变革了的社会共处、戏剧艺术如何处理现实社会与理想社会关系的问题。从这个意义上说,"五四"戏曲论争在戏剧发展史上遗留的难题,在今天依然值得我们思考。The controversy over the old and new concepts of Chinese Opera during May Fourth period was the first comprehensive and intense theoretical debate on Chinese Opera since the late Qing Dynasty.The controversy occurred mainly in New Youth magazine.Singing tunes,facial makeups,martial arts and other forms of traditional opera become the focus of the discussion.In the controversy,the issue was not only about the revaluation of the traditional opera,but also about the relationship between the change of dramatic form and the change of social life.The difference between the two sides is that they chose different forms of drama to cope with the change of social environment at that time.The birth of“new plays”is not simply to destroy the old and establish a new form of opera.It relates to how dramatic forms co-exist with the changing society and how the drama art deals with the real society and the ideal society.

关 键 词：戏曲论争 新戏 戏剧形式 社会变革 

分 类 号：I207.3[文学—中国文学]