从“真文学”到“真戏剧”——关于五四“戏剧改良”论争的再思考  

From the “Real Literature” to the “Real Drama”: The May Fourth “Reform of Drama” Rethought On

作　　者：丁罗男[1] DING Luonan

机构地区：[1]上海戏剧学院戏剧文学系

出　　处：《戏剧艺术》2019年第6期1-11,共11页Theatre Arts

基　　金：国家社科基金重大项目“中国话剧接受史”(18ZDA260);上海高水平地方高校(学科)建设项目的阶段性成果

摘　　要：五四"戏剧改良"的论争可看作中国现代戏剧的首次"戏剧观"大讨论,重读那些文章,在历时性语境中理解这场争论的本质,有利于进一步明确"五四精神"与中国现代戏剧的关系。从晚清到五四,戏剧改良一直是人们关注的主题之一,但其中的关键词,却从"新、旧"发展到"真、假",这意味着五四的新戏剧,已经超越表面的新奇而深入至"真"的本质探究。新青年派主张的"真戏剧"有形式与内容两个层面。通过对旧剧"非人"化的批判,确立了戏剧的人学原则;引进易卜生式的写实形式,使现代话剧在发挥社会功能与宣扬启蒙思想上取得了成功。五四时代文学与戏剧的紧密关系,有其历史的成因,虽然今天的戏剧观念已经发生变化,但其中有些问题仍然值得思考。The May Fourth "reform of drama" can be taken as the first discussion of "theories of drama"in modern Chinese theatre. Rereading the related articles in the diachronic context of the debates may shed new lights on the relation between the "spirit of May Fourth"and modern Chinese theatre. From the late Qing Dynasty to the May Fourth Movement,the reform of drama had been one of the major concerns,but the keywords of the concern developed from "new and old" to "real and false",which means that the new theatre of the May Fourth period had gone beyond its new-fangled appearance and began to explore the nature of "real". According to the New Youth school,the "real theatre"is composed of its form and content. The humanitarian principle of theatre was established by criticizing the "de-humanizing" elements of the old theatre. The introduction of Ibsenian realism led to the social functions of modern theatre in spreading new ideas of enlightenment. The relation between literature and drama in the May Fourth period was formed in certain historical background. Though theories of drama have changed,some of the concerns of that time period remain relevant even today.

关 键 词：戏剧改良 文明戏 五四话剧 写实主义 启蒙思想 

分 类 号：J80[艺术—戏剧戏曲]