用话剧语言阐释“‘活生生的阿Q’形象”——论许幸之的《阿Q正传》六幕剧  

Interpreting “the Image of Living Ah Q” in Modern Drama Language——On Xu Xingzhi’s Six-Act Play The True Story of Ah Q

作　　者：杨剑龙[1] Yang Jianlong(College of Humanities,Shanghai Normal University,Shanghai,200234)

机构地区：[1]上海师范大学人文学院,上海200234

出　　处：《山东师范大学学报（社会科学版）》2021年第4期19-29,共11页Journal of Shandong Normal University(Social Sciences)

基　　金：作者主持研究的国家社科基金重大项目“中国现代文学图像文献整理与研究”(16ZDA188)的阶段性成果。

摘　　要：许幸之改编的话剧《阿Q正传》1937年初在延安首演,在上海第二次演出历时半月,上座率极高。许幸之对剧本曾六易其稿,增强了人物之间的矛盾冲突,展现出剧本的戏剧性;增加了各种人物与故事,呈现出现实的丰富性;重塑了不同人物的性格特征,强化了角色的阶级性。许幸之的改编本基本按照小说情节的发展设置整体结构,阐释了阿Q人生的悲剧;演绎了阿Q精神胜利的特质;突显了当时阿Q般国民的麻木愚昧。但是由于过多地穿插其他小说的情节,一定程度上产生了喧宾夺主的效果。Xu Xingzhi’s modern drama The True Story of Ah Q debuted in Yan’an in early 1937. Its second performance in Shanghai lasted half a month and had a high occupation rate. Xu revised his script six times so as to enhance the conflicts between the characters and display the dramatic features. He added more characters and stories, and presented the richness of the play, reshaped the characteristics of different characters and intensified the class nature of the characters. Xu’s adaptation basically preserved the overall structure according to the plot of the novel, explained the tragedy of Ah Q’s life, interpreted the characteristics of Ah Q’s spiritual victory and highlighted the numbness and ignorance of Ah Q’s national character. However, because of the insertion of too many plots from other novels, to a certain extent, the play lost its intended purpose.

关 键 词：阿Q正传 许幸之 话剧 《晨报副刊》 

分 类 号：I234[文学—中国文学]