摘要
在近代尚力思潮与西方悲剧思想的共同作用下,清末民初的新潮演剧积极编演时事,上演了大量的志士剧。这些作品以触目惊心的死亡召唤悲剧情怀,建构出一条肉身承道——无论所承之道是革命思想还是社会批判——的路径。新潮演剧中的悲剧意识,上承自近代传奇杂剧中的文天祥投海明志,后启北大周瑞琦投水“以作诸君之气”的学生运动,更是与鲁迅提倡的摩罗诗人“自啮其身,终以陨巅”形成对话。此期新潮演剧在作用于社会的同时,也促发了惨剧向悲剧的转型。
Fueled by both the modern worship of strength current and Western tragic thought,fashionable theatre in the late Qing dynasty and the early Republic of China actively dramatized current events,particularly“martyr plays”.These plays evoked powerful emotions through shocking death,constructing a path to carry truth with the body,whether in pursuit of revolutionary ideals or social critique.The tragic awareness finds its lineage in figures like Wen Tianxian who committed to the sea to show his aspiration in modern legendary Zaju and Zhou Ruiqi of Peking University who threw himself into the water to boost people's morale in student movement,while also engaging with Lu Xun's advocacy of“Demon Poets”whose behavior is akin to a snake biting itself,leading to its own demise.Through this approach,fashionable theatre contributed to the modernization of tragedy in China that has undergone a transformation from heartrending drama to tragedy and from tragic to heroic,as well as having an effect on society.
作者
于净然
施旭升
YU Jingran;SHI Xusheng
出处
《戏剧艺术》
北大核心
2024年第2期111-120,共10页
Theatre Arts
基金
国家社科基金艺术学重大项目“建党百年艺术生产运行机制与制度研究”(22ZD02)的阶段性成果。
关键词
清末民初
新潮演剧
悲剧意识
尚力思潮
the late Qing dynasty and the early Republic of China
fashionable theatre
tragic awareness
worship of strength current
