1920年代的《娜拉》演出与五四精神传导  

Performance of Nora in the 1920s and the Dissemination of May Fourth Spirit

作　　者：王桂妹[1] Wang Guimei(School of Humanities,Jilin University,Changchun Jilin130012)

机构地区：[1]吉林大学文学院,吉林长春130012

出　　处：《山东师范大学学报（社会科学版）》2024年第3期36-45,共10页Journal of Shandong Normal University(Social Sciences)

基　　金：国家社会科学基金重大项目“现当代旧体文学史研究”(23&ZD284)的阶段性成果。

摘　　要：易卜生的名剧《娜拉》经由五四新文化运动和文学革命的洗礼,成为五四精神的象征,《娜拉》的舞台演出即是五四精神向社会传导的过程。1920年代,承载着个性解放思想和新兴话剧样式双重内涵的《娜拉》演出,从案头到舞台、从学校到社会、从禁演到公演、从女扮男装到男扮女装、从同性登台到男女合演,经历了曲折而繁难的过程,而在观演之间更是激发了有关中国观众配不配看新剧、易卜生是否适合中国、娜拉该不该出走等问题的论争。由1920年代的四种《娜拉》演出,我们可以清晰地透视五四精神向社会传导的路径及效果,进而重审五四精神的丰富性和启蒙的限度。Henrik Ibsen's renowned play “A Doll's House”, after undergoing the transformative impact of the May Fourth New Culture Movement and literary revolution, emerged as a symbol of the May Fourth spirit. By performing “A Doll's House”, the spirit of May Fourth, which embodies both the liberation of individuality and the emergence of a new theatrical style, began to pass on to the society in the 1920s. This iconic play embarked on a convoluted journey from the script to the stage, from academic settings to public spaces, from being banned to being openly performed, from same-sex actors to co-ed performance, along with many disputes among Chinese audiences regarding their readiness for new plays, the suitability of Ibsen's works for China, and the decisions of the protagonist Nora. By analyzing the four different renditions of “A Doll's House” in the 1920s, we gain insights into the pathways and impact of the dissemination of the May Fourth spirit to society, prompting a reassessment of the complexities and boundaries of enlightenment of the May Fourth spirit.

关 键 词：《娜拉》演出 1920年代 五四精神 社会传导 启蒙限度 

分 类 号：I207.4[文学—中国文学]