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本文为笔者博士论文第五章,略有删节。在前四章对中国戏曲“受难叙事”的生成和演化进行梳理的基础上,本章讨论了“受难叙事”在中国电影的前史——文明戏阶段的情况。首先,文明戏作为中国演剧叙事史中的一个特定阶段,继承了中国戏曲叙事传统的核心要素,即以“受难”为核心的叙事结构和情感呈现;其次,文明戏兴起并存在于维新、辛亥与“五四”的浪潮中,其叙事形态又具有鲜明的时代特征。文明戏创作者们的戏剧实践,为中国1920年代电影的发生、发展打下了扎实的基础。
This article is the fifth chapter of my PhD thesis, a little abridged. In the first four chapters on the basis of combing the formation and evolution of the Chinese opera “The Crucifixion,” this chapter discusses the situation of “The Crucifixion” in the pre-history of Chinese cinema - stage of civilization. First of all, civilized drama, as a specific stage in the history of Chinese drama narration, inherits the core elements of the narrative tradition of Chinese opera, that is, the narrative structure and emotional expression with “suffering ” as the core. Secondly, , Xin Hai and the “May Fourth Movement”, its narrative form also has distinct characteristics of the times. The dramatic practice of civilized play creators has laid a solid foundation for the occurrence and development of the 1920s movie in China.