五四戏剧论争硝烟散后:梅兰芳与“新青年”  

Mei Lanfang and“New Youth”after Debates on Traditional Operas

作　　者：张婷婷[1] Zhang Tingting

机构地区：[1]南京艺术学院研究院

出　　处：《戏剧（中央戏剧学院学报）》2020年第4期79-91,共13页Drama:The Journal of the Central Academy of Drama

基　　金：2018年度国家社会科学基金艺术学重大项目“梅兰芳表演艺术体系及相关文献收集整理与研究”(项目编号:18ZD07)阶段性成果。

摘　　要：在五四新文化运动中,以胡适、钱玄同等为代表的"新青年派"向中国本土"旧剧"发起猛烈攻击,以咄咄逼人的口气对其诋毁谩骂。然而在论战平息后不久,"新青年派"对旧剧的看法却发生了根本性的改变,不仅纷纷写文章进行自我批评,认为自己曾经在五四戏剧论争中发表的言论失之偏颇,而且还与"旧剧派"携手,为梅兰芳改良旧剧共谋策划。"新青年派"态度转变的原因,无不与梅兰芳访日的成功、美国学者的来华访问、梅兰芳访美演出消息日益明朗等事件息息相关。In the"May 4 th"new cultural movement,the"New Youth School",represented by Hu Shi and Qian Xuantong,launched a fierce attack on the"traditional operas"in China,vilifying and abusing operas in an aggressive tone.However,soon after the debates subsided,members in"New Youth School"changed their attitudes to"traditional operas"radically.They not only wrote articles to self-criticize,pointing out that they made biased remarks in the"May 4 th"drama debates,but also prepared for Mei Lanfang’s tour to the United States by cooperating with the"Traditional Operas School".The reasons for the change of their attitudes were closely related to the success of Mei Lanfang’s tour to Japan,the visit of American scholars to China,and the increasingly specific news about Mei Lanfang’s tour to the United States.

关 键 词：五四 “新青年派” 梅兰芳 旧剧 访美 

分 类 号：J82[艺术—戏剧戏曲]