新浪漫剧、五四启蒙运动与中国文化的现代化历程

Neo-romantic Dramas,May 4th Enlightenment Movement and Modernization of Chinese Culture

新浪漫主义本是传统浪漫主义的一种延续和发展 ,但由于其特点与后来的现代主义有相似之处 ,“五四”时期就把所有的现代主义流派都称为新浪漫主义。同样 ,“五四”时期的新浪漫剧实际上也是指象征主义、表现主义和未来主义等现代派戏剧。现代主义戏剧在 2 0世纪的中国基本上没有形成大的气候 ,只是在“五四”时期和 80年代出现过两次短暂的热潮 ,且前者被称为“新浪漫剧” ,而后者则被冠之以“探索剧”。对“五四”新浪漫剧的文化阐释绕不开现代思想启蒙运动 ,而且 ,现代思想启蒙运动可能是现代主义戏剧在中国的直接催化剂和惟一的生存土壤 ,因为不仅是“五四”新浪漫剧 ,80年代探索剧也是伴随着思想启蒙运动而诞生的 ,并伴随着启蒙运动的结束而偃旗息鼓。本文认为 ,“五四”新浪漫主义戏剧的命运不仅与中国现代启蒙运动的命运密切相关 ,而且最终决定于整个中国文化及其现代化过程的性质与特征。

Neo-romanticism is originally the continuity and development of traditional romanticism. However, because of its similarity to modernism, during the May 4th Movement, all modernistic schools were called Neo-romanticism. So Neo-romantic dramas during the May 4th Movement refer to modern dramas such as those of symbolism, expressionism, futurism, etc. In 20th century modernistic dramas almost went nowhere in China, except two short periods of enthusiasm in the May 4th Movement and 1980s, namely “Neo-romantic dramas” and “exploration dramas”respectively. Cultural expatiation of Neo-romantic dramas in the May 4th Movement cannot avoid modern Enlightenment Movement which is possibly the direct “catalyst” and the only hotbed of modernistic dramas, for not only Neo-romantic dramas in the May 4th Movement but also “exploration dramas” of 1980s came and disappeared with the rise and fall of the Enlightenment Movement.The paper holds that the destiny of Neo-romantic dramas in the May 4th Movement has a close relation with that of modern Enlightenment Movement in China,and it is eventually subject to the nature and feature of the whole country's culture and its modernization.