“演说”与民族国家叙事——以20世纪30年代戏剧为中心  

“Speech”and National Narrative:A Discussion of the Theatre of the 1930s

作　　者：王雪芹[1] WANG Xueqin

机构地区：[1]南京晓庄学院新闻传播学院

出　　处：《戏剧艺术》2023年第3期86-92,93-98,共13页Theatre Arts

基　　金：国家社科基金艺术学重大项目“中国话剧演剧学派研究”(20ZD21)阶段性成果。

摘　　要：“演说”对中国现代戏剧的发展影响深远。和早期戏剧相比,20世纪30年代戏剧中的“演说”不再直接和生硬,而是呈现了边界较模糊的复杂形态,它主要表现为两种基本形式,并显示出身体缺席和自我授权的内在逻辑。但“演说”始终不是戏剧话语,它虽呼应时代呐喊,但未能摹写民族国家新旧更迭的嬗变,其审美错位既表明剧人对话剧之“话”的理解仍未充分,也体现了戏剧现代化进程中的发展与遮蔽。此外考察“演说”也可对这时期重要作家作品以及历史剧、儿童剧等创作形态提供新的阐释。“Speech”has had a profound impact on the development of modern Chinese theatre.Compared with that in earlier plays,the“speech”in the theatre of the 1930s is less direct and rigid,and has a complicated form with blurred boundaries.It has two main basic forms and displays the internal logic of physical absence and self⁃authorization.However,“speech”is not a theatrical discourse.Although it echoes the cry of the times,it fails to imitate the evolution of the nation from old to new.Its aesthetic dislocation not only indicates an insufficient understanding of the feature of“speaking”in a play,but also reflects the development and obstruction in the process of theatre modernization.In addition,an examination of the“speech”can also provide new interpretations of important playwrights'works,historical plays,children's plays,and other creative forms during this period.

关 键 词：演说 民族国家叙事 20世纪30年代戏剧 戏剧现代化 

分 类 号：J80[艺术—戏剧戏曲]