向梅兰芳致敬:论费穆抗战话剧《秋海棠》的戏中戏  

Homage to Mei Lanfang:On the Play-within-a-Play in Fei Mu's Anti-Japanese War Drama Autumn Begonia

作　　者：李清宇 Li Qingyu

机构地区：[1]华东师范大学国际汉语文化学院

出　　处：《戏剧与影视评论》2023年第6期34-41,共8页Stage and Screen Reviews

基　　金：上海市哲学社会科学规划一般课题“张爱玲小说叙事与京剧表演艺术关系研究”,项目编号:2020BWY008。

摘　　要：要:1942年年底,上海艺术剧团推出了由费穆主创的话剧《秋海棠》。该剧中的种种情节,不过是费穆的隐喻,意在颂扬梅兰芳在抗战中坚守民族气节,甘愿牺牲一艺术生命的义举。费穆在该剧演出中穿插了《苏三起解》《宇宙锋》等京剧片段,而设置戏中戏的目的,是让观众通过联想,在秋海棠和梅兰芳之间建立关联。费穆的戏中戏,不仅利用相关京剧的内容,构成对梅兰芳形象和精神的喻指,同时也汲取京剧艺术精华,以丰富话剧舞台的编导技艺。At the end of 1942,Shanghai Art Troupe launched the drama The Flozwer of Begonia,which was mainly created by Fei Mu.All the plots of the drama are just metaphors to praise Mei Lanfang.Fei Mu interspersed Peking Opera segments such as Su San Qi Jie and Yu Zhou Feng in the performance of the play.The purpose of setting up play-within-a-play is to let the audience establish a connection between Begonia and Mei Lanfang through association.Fei Mu's play-within-a-play not only makes use of the relevant Peking Opera content to form a metaphor for Mei Lanfang's image and spirit,but also draws on the essence of Peking Opera art to enrich the skills of script writing and directing of the drama stage.

关 键 词：梅兰芳 费穆 抗战话剧 《秋海棠》 戏中戏 

分 类 号：J82[艺术—戏剧戏曲]