以现代视野重铸戏曲舞台上的“民族脊梁”——1930年代田汉新编历史剧《岳飞》创作研究  

The Reconstruction of “National Backbone” on the Opera Stage with Modern Perspective: A Research on the Creation of TIAN Han’s New Historical Play YUE Fei in the 1930s

作　　者：李黎媛 LI Liyuan(Department of Drama Literature,Central Academy of Drama,Beijing 102200,China)

机构地区：[1]中央戏剧学院戏剧文学系,北京102200

出　　处：《贵州大学学报（艺术版）》2023年第1期80-87,共8页Journal of Guizhou University Art Edition

基　　金：2020年度国家社科基金艺术学重大项目“中国戏曲历史题材创作研究”(项目编号:20ZD23)。

摘　　要：田汉创作的新编历史京剧《岳飞》,作为戏曲历史剧创作在戏曲现代化改革过程中的重要尝试,包含着田汉对抗战初期粗糙迫切地“利用”旧形式和关于“旧瓶能否装新酒”的创作观念的争论与反思。其中体现了田汉文艺观向“革命”的转变,也体现了他对中国戏剧传统的敏感与留恋,彰显了他更新“传统”范式、突破中国式“历史题材”戏曲作品思想内涵和审美风格的决心。As an important attempt in the creation of historical play during the modernization of the traditional Chinese operas, TIAN Han’s new historical Peking Opera YUE Fei contains his rough and urgent “employment” of old forms in the early days of the Anti-Japanese War and his arguments and reflections on the creation concept concerning “whether new wine can be put into old bottles or not”. It reflects TIAN Han’s shift to “revolution” in his views on literature and art, his sensitivity and nostalgia for the traditions of Chinese operas, and his determination to renew the “traditional” paradigm and to make a breakthrough in the ideological connotations and aesthetic styles of Chinese opera “themed with history”.

关 键 词：田汉 《岳飞》 历史剧 民族形式 现代 

分 类 号：J805[艺术—戏剧戏曲]