论魏明伦戏剧《中国公主杜兰朵》中的抒情传统  

On the Lyrical Tradition in the Drama——Chinese Princess Durandot Composed by Wei Mingluns

作　　者：吴月颖 WU Yueying(College of Chinese Language and Literature,He'nan University,Kaifeng 475001,Henan,China)

机构地区：[1]河南大学文学院,河南开封475001

出　　处：《安康学院学报》2023年第6期49-53,共5页Journal of Ankang University

摘　　要：《中国公主杜兰朵》被认为是根植于中国文化土壤的一次创造性改写。该剧对西方语境中带有东方刻板印象的传奇歌剧进行戏曲艺术形式的重构,用中国文学道统中主流的抒情传统完成了文化话语权的置换,也是文学审美意趣之于戏剧体裁的跨界运用。剧作家魏明伦通过对东方性格的挖掘、对“美”的境界的探寻以及对“谐和整一”的戏剧理想的追求,彰显中国抒情传统中“自省”与“自足”的文人态度,是有意脱离西方艺术印记、坚定中华文化立场的一次自我表达。The Drama Chinese Princess Durando is a creative rewriting rooted in the soil of Chinese culture.It reconstructs the theatrical art form of the legendary opera with the stereotype of the East in the eyes of the West,replaces the right of cultural discourse with the mainstream Lyric Tradition in Chinese literary tradition.It is also the cross-border application of literary aesthetic interest to dramatic art.Wei Minglun,a playwright,reveals the literati's attitude of“self-reflection”and“self-sufficiency”in Chinese Lyric tradition by excavating the Oriental character,exploring the realm of“goodliness”and pursuing the drama ideal of“harmony and unity”,which is a self-expression that breaks away from the artistic stamp of the West and stand firm on Chinese cultural.

关 键 词：《中国公主杜兰朵》 抒情传统 自我表达 文化立场 

分 类 号：J825[艺术—戏剧戏曲]