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1937年4月,夏衍创作了他的具有很大影响力的代表作——《上海屋檐下》。夏衍曾经说过,在这个剧本里,他对写作有了一种痛切的反省,要改变那种“戏作”的态度。[1]但是,大部分戏剧,都基本从生活出发,开始创作的。从剧作者写作中不难看出,作者有意从生活细节开始,为我们描绘出一幅市井平常的画面。本篇文章从《上海屋檐下》的主题出发,从矛盾冲突、精细的女性人物描写和孩子们的世界这三个中心点展开,解读本部作品的深层含义,从平凡中挖掘不平凡的地方。
In April 1937, Xia Yan created his influential masterpiece “Under the Roof of Shanghai.” Xia Yan once said that in this script, he has a painful reflection on writing, changing the attitude of that “drama.” However, most of the plays are basically based on life and started to be created. It is not difficult to see from the dramatist’s writing that the author intends to start with the details of life and portray a normal picture for us. Based on the theme of “Under the Roof of Shanghai”, this article starts from the three central points of contradiction and conflict, elaborate female characters and children’s world. It interprets the deep meaning of the works of this Ministry and excavates extraordinary places.