论洪炳文戏曲的奇幻书写与人文精神  

A Study on the Fantasy Writing and the Humanistic Spirit of Hong Bingwen’s Dramas

作　　者：王亚男[1] WANG Yanan(Department of Chinese Language&Literature,Peking University,Beijing 100871,China)

机构地区：[1]北京大学中文系,北京100871

出　　处：《苏州教育学院学报》2021年第3期50-58,共9页Journal of Suzhou College of Education

摘　　要：在近代戏曲改良的潮流中,“南社”戏曲家洪炳文以奇幻的想象书写和极强的创作个性而知名:他超越传统戏曲中的鬼神书写方式,其表现的鬼神世界具有浓厚的现实色彩;他塑造的花与虫形象非常有特点,在把握其自然规律的基础上进行了人格化想象,将现代理性文化的书写与传统的抒情言志手法结合在一起。在梦境主题作品中,他使用“梦中梦”的结构,在表现理想空间的同时,又表达了多重主题。总之,他既以幻写真,又以幻写心,表现出真幻交织、意义深远的审美追求,这其中佛、道文化对其创作产生了影响。Hong Bingwen was one of the most important drama writers in modern China.He showed his strong creative personality with fantastic imagination in the trend of drama reform.Different from the traditional writing method of ghosts and gods,the belief world in Hong’s works had a strong realistic color.Hong also used images of flowers and insects,and personalized them on the basis of their natural laws,combining the modern rational culture with the traditional lyrical expression.In his dream-themed works,the structure of“dream in dream”created an ideal space with multiple themes.It could be seen that he presented the real world in the form of fantastic ideas.To put it in a nutshell,Hong used fantasy to write about the reality and the thoughts of his mind,which led to a combination of real and unreal style with profound significance.This also showed the influence of Buddhist and Taoist culture on his creative thinking.

关 键 词：洪炳文 戏曲 《水岩宫》 《秋海棠》 《芙蓉孽》 人文精神 

分 类 号：I206.5[文学—中国文学]