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与同时代的其他剧作相比,路翎的《云雀》与吴祖光的《风雪夜归人》在本体意义上的生命求索、自由精神的人性关注上达到了相当的深度。尽管受制于特殊的时代语境,但剧作家在对人物命运的观照时并没有掩饰其悲怆的生命情怀,他们共同以强烈的精神挣扎与悲剧性的人物命运向我们展现了生命本体意义上的人生和人性景观,以此为基础,人类自由理想的强烈与恒远在话剧中得到深刻确立。
Compared with the other plays in the same period, Lu Ling’s “Skylark” and Wu Zuguang’s “Night of the Snowdrifts” reached a considerable depth in ontological life-seeking and free-spirited humanistic concern. Despite being controlled by a special context of the times, the playwrights did not hide their sorrowful feelings of life in the contemplation of the fate of their characters. Their common struggle with a strong spirit and the fate of the tragic characters showed us the meaning of life itself Life and human landscape, on the basis of which the intense and constant Henhuai ideal of human freedom has been deeply established in the drama.