论合法化新局面下本土大型剧的历史困境——以《雷雨》和《这不过是春天》为中心  

The Historical Predicament of Native Large-scale Dramas in the Context of New Legalization:Centered on Thunderstorm and This Is Just Spring

作　　者：侯抗 HOU Kang

机构地区：[1]南京艺术学院学报编辑部

出　　处：《戏剧艺术》2024年第3期117-129,共13页Theatre Arts

基　　金：教育部人文社会科学研究青年基金项目“国立戏剧学校资料汇纂与研究”(20YJC760031)的阶段性成果。

摘　　要：话剧合法性包括社会层面的合法性与政治层面的合法性,二者既有重合也有错位。如何在两个层面的合法性中取得微妙的平衡,是中国现代话剧必须解决的问题。《雷雨》《这不过是春天》两部剧在1935年的演出,各自遭遇了一定的困境,前者大受观众欢迎却屡遭禁演,后者政治正确却为观众所冷落。两部剧截然不同的遭遇,客观上反映了本土大型剧在面对两个不同层面合法性时的历史困境。这也是一定历史阶段内中国现代民族戏剧建设所面临的难题。The legitimacy of drama involves both social and political dimensions,often intertwining yet sometimes diverging.Negotiating this delicate balance between social and political legitimacy is imperative for the evolution of modern Chinese drama.The performances of Thunderstorm and This Is Just Spring in 1935 encountered certain difficulties,with the former being popular among the audience but repeatedly banned,and the latter being politically correct but coldly received by the audience.The vastly different experiences of the two dramas objectively reflect the historical predicament of native large-scale dramas facing legitimacy at two different levels.This is also a problem faced by the construction of modern Chinese national dramas in a certain historical stage.

关 键 词：合法性 曹禺 李健吾 雷雨 这不过是春天 

分 类 号：J80[艺术—戏剧戏曲]