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中国的文明新戏是开放国门,“采用西法”的产物,它所走过的路程是曲折的,和五四以后新兴的现代话剧比较,既有联系,又有区别,在它存在的三四十年间,经历了自成系统的一段兴衰史。本文试将文明戏的萌芽、发展和衰落作一追索,以探求艺术发展之规律;以期对中国现代话剧的全貌有完整的把握和认识。 一、戏曲改良 在鸦片战争之前,中国的舞台上传统戏曲一统天下。而在西方剧坛,批判现实主义戏剧正值盛期,现代主义戏剧出现萌芽,歌剧、芭蕾舞剧已相当成熟,出现了一大批经典剧目。 清朝末年,由于帝国主义列强的侵入,也带来了西方的文化和宗教,东西方文化在中国发牛了激烈的冲撞,戏剧自然也在其列。在国外戏剧文化和传统戏曲的尖锐对立中,在对传统戏曲文化的批判中,呼唤着一种全新的戏剧的诞生。
The new civilization of civilization in China is a product of opening up the country and “adopting the Western Law.” The course it has taken is twists and turns. Compared with the emerging modern drama after the May Fourth Movement, both the connections and the differences exist. In its existence, Ten years have experienced a period of ups and downs of self-contained system. This article tries to trace the sprout, development and decline of civilized opera in order to explore the law of the development of the art; with a view to have a complete grasp and understanding of the whole picture of modern Chinese drama. First, drama improvement In the Opium War, the traditional Chinese drama dominated the stage. In western theatrical scene, the critical realism drama is in its infancy, the emergence of modernist drama sprout, opera, ballet has been quite mature, there have been a large number of classic repertoire. In the last years of the Qing Dynasty, the invasion of the imperialist powers brought with it Western cultures and religions. As a result, Eastern and Western cultures made a fierce collision in China and drama was naturally on the list. In the sharp confrontation between the foreign drama culture and the traditional drama, in the critique of the traditional opera culture, it calls for the birth of a brand new drama.