摘要
曹禺的《北京人》一直被称作中国的《樱桃园》,而实际上两剧的差异是巨大的,具体体现在文本的戏剧冲突、作家的创作观、两剧的文化背景三方面。《北京人》的戏剧冲突沉潜至语言背后,注重心理交锋,多重冲突齐头并进,而契诃夫的《樱桃园》则采取淡化冲突的方式;曹禺在剧中的情感个性和主观参与意识强烈,契诃夫在剧中则处于缺席的状态;《北京人》文化背景中凸显的是重视群体忽略个体的中国伦理道德秩序,而契诃夫剧中更关注的是个体的生存状态。曹禺在学习契诃夫的过程中实现了自己创作风格嬗变,而不是对契诃夫的简单模仿。
Cao Yu＇s Peking man has been called the Cherry Orchard in Chinese version, but in fact the differences of the two dramas are enormous, which can be analyzed from the following three aspects- dramatic conflicts, creation view and cultural background. Peking man＇s dramatic conflicts fallow to the psychological clash behind the language,multiple conflicts go hand in hand, while Chekhov＇s Cher- ry Orchard abates conflicts. Cao Yu creates the play with strong emotional and subjective participa- tion, Chekhov is in the position of absence in the play; Peking man＇s cultural background is Chinese ethical and moral order, which highlights collective and ignores individual, while Chekhov＇s Cherry Orchard is more focused on individual survival state. Cao Yu realized his style evolution and personal break-through in the process of learning Chekhov, instead of simple imitation of Chekhov.
出处
《合肥工业大学学报（社会科学版）》
2015年第4期72-77,共6页
Journal of Hefei University of Technology(Social Sciences)
基金
安徽高校省级人文社会科学研究项目(SK2013A083)
