从“新剧”到“国剧”:华美协进社与中国现代戏剧转型  

From“New Drama”to“National Opera”:The China Institute and the Transformation of Chinese Modern Drama

作　　者：陈倩[1] CHEN Qian(School of Liberal Arts,Renmin University of China)

机构地区：[1]中国人民大学文学院

出　　处：《中国人民大学学报》2024年第2期140-149,共10页Journal of Renmin University of China

基　　金：国家社会科学基金项目“华美协进社与中国现代文学之关系研究”(18BWW016)阶段性成果。

摘　　要：华美协进社虽非专业戏剧社团,却与中国现代戏剧有着千丝万缕的联系。尤其在其诞生前后,即1924年“国剧运动”在纽约发起至1930年梅兰芳访美,它对中国现代戏剧的转型起到了不容忽视的作用:它促进以杜威为核心的实用主义美学和以马修斯为代表的英美现代演剧模式的引入;它倡导戏剧发展方向从“为人生”转向“为艺术”,积极探索戏剧的各种形式要素;它打破20世纪初中国对国外话剧的单向接受,努力建设中国古典传统与西方现代艺术融合的“国剧”。本文对该社诞生前后中国戏剧发展轨迹的变化进行探讨,尝试从另一个侧面理解中国现代戏剧史。Although the China Institute in America founded in 1926 is not a professional drama association,it is inextricably linked with the development of modern Chinese dramas.It made great contributions to the development of modern Chinese dramas especially around the time of its establishment,precisely during the period between the initiation of“National Opera Movement”in 1924 and Mei Lanfang's visiting the United States in 1930.This article tries to present the influence of the China Institute in three aspects:its introduction of the American performance mode to China,its close attention paid to art forms of theatre,and its attempt to build a form of“national drama”that compromises the Chinese classical opera and elements of modern western arts.We may understand the history of modern Chinese drama from a diversified perspective by comparing the differences of Chinese drama before and after the establishment of the China Institute in America.

关 键 词：华美协进社 新剧 国剧 中外戏剧交流 

分 类 号：J809.2[艺术—戏剧戏曲]