缠绕与共生:话剧民族化运动中的《关汉卿》及其悲喜结尾  

Winding and Symbiosis:Guan Hanqing and the Two Endings in the Nationalization Movement of Drama

作　　者：岳丹阳 YUE Danyang(School of Chinese Studies,Dalian University of Foreign Languages,Dalian Liaoning 116044,China)

机构地区：[1]大连外国语大学汉学院,辽宁大连116044

出　　处：《四川职业技术学院学报》2023年第3期141-146,共6页Journal of Sichuan Vocational and Technical College

摘　　要：20世纪50年代,田汉创作出了他戏剧生涯的又一经典作品《关汉卿》,剧本赢得了戏剧界的一致好评并成为“十七年”历史剧的代表作。通行本《关汉卿》存在着一“悲”一“喜”两种结尾。两种并行不悖的结尾体现出剧本的双重性结构,表现为喜剧、民间审美与关汉卿的情侠身份和悲剧、革命叙事与关汉卿革命战士之间的对应结构。作为一部融合戏曲与话剧形式的剧本创作,《关汉卿》的双重性恰是话剧民族化运动之中戏曲与话剧复杂关系的集中体现。In the 1950s,Tian Han created his classic drama Guan Hanqing,which won universal acclaim in Chinese dramatic world and became the masterpiece of historical drama.There are two endings in current version of this play:tragic ending and comedic ending.Both of the are loved by many people.Those two endings embody that there is a duality in this drama structure.The duality not only highlighted in Guan Hanqing's dual role as warrior of love and soldier,but also reflected in the dual text of revolutionary narrative mode and folk narrative mode.Apart from that,as an unique work which combines drama and Chinese opera forms,the dual nature of Guan Hanqing reveals the complex relationship between drama and Chinese opera during the nationalization movement of modern drama in 1950s.

关 键 词：《关汉卿》 田汉 悲喜结尾 双重性 民族化 

分 类 号：I207.34[文学—中国文学]