时代新人的舞台想象——“潘金莲”与欧阳予倩笔下的女士们  

New Images in Modern Chinese Drama:Pan Jinlian and Female Characters Crafted by Ouyang Yuqian

作　　者：郭富民[1] Guo Fumin

机构地区：[1]中央戏剧学院

出　　处：《戏剧（中央戏剧学院学报）》2024年第4期60-74,共15页Drama:The Journal of the Central Academy of Drama

基　　金：2024年中央戏剧学院“南国艺术运动百年纪念学术研讨会”成果。

摘　　要：以欧阳予倩为代表的戏剧前辈一直在为中国现代戏剧舞台寻找时代新人,欧阳予倩对时代新人中的“新女性”尤为关注,塑造了大量舞台艺术形象。20世纪20年代由南国社演出的《潘金莲》,使新女性的形象鲜明度和反抗激烈程度达到了峰值,这个形象深刻影响了此后的舞台“新女性”,同时,欧阳予倩对新女性的舞台想象也日趋成熟,塑造出了李香君这样个性鲜明而形象丰满的人物。中国戏剧前辈一直在为中国戏剧的发展进行体系化的探索和建构,中国演剧体系的核心是为现代中国人造型立传,欧阳予倩的“新女性”探索成果是极其宝贵的遗产,值得我们深入研究。The drama predecessors represented by Ouyang Yuqian have been looking for new images for the modern Chinese drama stage.Ouyang Yuqian pays special attention to"new women"among these new images,and has created a large number of female characters.Pan Jinlian,performed by the Nanguo Society in the 1920s,has brought the freshness and intensity of resistance to the new female image to its peak.This portrayal profoundly reshaped the representation of the"new women"in subsequent theatrical performances.At the same time,Ouyang Yuqian's stage imagination of"new women"has become increasingly mature,molding the instricate character of Li Xiangjun,characterized by a distinctive personality and a fullbodied image.Chinese drama predecessors have been systematically exploring the construction of Chinese drama.The core of the Chinese theatrical system is shaping the image of modern Chinese people.Ouyang Yuqian's exploration of the"new women"represents a treasured cultural legacy that demands profound scholarly investigation.

关 键 词：欧阳予倩 潘金莲 新人 新女性 演剧体系 

分 类 号：J82[艺术—戏剧戏曲]