摘要
作为中国现代化进程中的特殊产物,由实践及实验而确立的"化装讲演",最初为一种体现言论自由、承载变革重任的"讲演的戏剧",后衍化为经知识分子主导的一场持久而规模宏大的文化普及与现代教化运动。这种命名于文明戏时期的新的演剧形态在五四时期被界定为"教育的戏剧",然而其范畴属性并不拘泥于此,发展至1930年代被镶嵌进注重实效的、功利性的民众戏剧观念之中。尽管"化装讲演"文体及其观念尚未考虑戏剧性及美学追求,缺乏艺术的超现实的一面,但其理论主张为现代中国戏剧观念意识自觉使然,并与现代性启蒙等诸多问题有着重要关联。
As a special fruit of China’s modernization,the"speech by dressed-up roles,"developed through experimental practice,was initially a"speech play",which demonstrated the freedom of speech and harbored the wish for reform.Later it evolved into an intellectuals-led,lasting and large-scale movement that promoted literacy and enlightenment.Originated from the period of wenmingxi,this new theatrical form was defined as"educational play"during the May Fourth Movement,but its attributes stretched beyond educational purposes.In the 1930 s,it was integrated into the utilitarian folk theatre.Although the style and concept of"speech by dressedup roles"did not take theatrical and aesthetic values into consideration,and lacked the artistic quality that transcended reality,its theoretical proposition was in line with modern Chinese theatre concept,and bore important links with issues such as modernity and enlightenment.
出处
《戏剧艺术》
CSSCI
北大核心
2021年第6期88-100,共13页
Theatre Arts
关键词
演说
文体生成
谷剑尘
阎折梧
民众戏剧
"speech"
style generation
GU Jianchen
YAN Zhewu
folk theatre
