犀利与独异:在旧观念的重围中——易卜生及其写实戏剧的遭遇  

Sharp and Different:In the Siege of Old Ideas--The Encounter of Ibsen and His Realistic Drama

作　　者：周安华 Zhou Anhua

机构地区：[1]山东大学中国影视文体研究中心,山东青岛266237

出　　处：《学术研究》2024年第9期164-168,178,共6页Academic Research

摘　　要：作为“现代戏剧之父”,易卜生的写实戏剧以强烈的反抗精神直面资本社会,以娴熟的艺术技巧揭示社会真相,深刻影响了整个近代世界剧坛的走向。然而,当写实戏剧刚刚问世,并开始在英国、法国等欧洲主要国家上演时,无论是易卜生还是萧伯纳,都受到了欧洲中上层社会极其猛烈的攻击,许多人视《玩偶之家》等作品如洪水猛兽。《玩偶之家》主人公娜拉公然离家出走,而《群鬼》竟然将梅毒、遗传导致的麻痹症安排在一个体面的家庭里,激起右派和自由主义报刊大肆批评和漫骂,甚至为易卜生“有效平息了一切反对声”的无敌斗士——英国文学家亨利•詹姆斯,也说易卜生“重复表面的丑恶”和“乏味的异想天开”。批评者以“内行”姿态,指责社会写实剧“不像戏”,没有戏剧“味道”,实际上是愤怒于写实戏剧震撼性的思想和艺术以及鲜明的叛逆性。这也恰恰说明,易卜生和写实戏剧在理念上独步于历史,创作哲学上注重人,表现情态上深挖现实,堪称近代戏剧现代性的缩影。As the“father of modern drama”,the realistic drama represented by Ibsen faced the capital society with a strong spirit of resistance and revealed the social truth with skillful artistic skills,which profoundly influenced the trend of the whole modern world drama.However,when realistic drama just came out and began to be staged in major countries such as Britain and France,both Ibsen and Bernard Shaw were attacked extremely fiercely by the middle and upper classes of European society,and many people regarded“Doll’s House”and other works as a flood.“The Doll’s House”protagonist Nora openly ran away from home,and“The Ghosts”actually arranged syphilis and hereditary paralysis in a decent family,provoking right-wing and liberal press criticism and abuse,and even for Ibsen“effectively quell all opposition”invincible fighter-British writer Henry James,Ibsen was also said to“repeat superficial ugliness”and“dull whimsy”.With the attitude of“expert”,critics accuse the social realistic drama of“not like drama”and no drama“taste”,in fact,they are angry at the shocking thought and art of realistic drama,and the distinct rebelliousness.Ibsen and realistic drama are unique in history in concept,pay attention to people in creation philosophy,and dig deep in reality in expression mode,which can be called the epitome of modern drama modernity.

关 键 词：旧观念 突围 易卜生 写实戏剧 

分 类 号：I106.3[文学—世界文学]