论“国剧运动”的文化保守主义立场

Cultural Conservatism in the National Theatre Movement

“国剧运动”作为一个特殊社会文化现象,在中国话剧还处于起步阶段的1920年代出现,有其偶然性和必然性。它对东西方戏剧的理性思考和对未来中国戏剧形态的构想,与当时社会文化思潮的“主流”显得格格不入,但却在几十年后成为当代话剧探索的方向之一。“国剧运动”的先驱大多属于文化保守主义者,他们对“国剧”理论的创建,不仅在于对中国传统文化的承继,更与特定的历史文化背景下的价值选择有密切关联。

The emergence of National Theatre Movement in the 1920s when China's modern theatre was still at an incipient stage was at once contingent and inevitable as a unique sociocultural phenomnon. The rational contemplation upon Oriental and Occidental theatres and the speculation of modern Chinese theatre forms in the future were incompatible with the contemporaneous social and cultural mainstreams. However,decades later it was to make the way for explorations of the modern drama. Most of the National Theatre Movement pioneers were cultural conservatives. Their theory of the National Theatre was not only based on an emphasis on Chinese cultural tradition,but also closely related to their value judgment in the particular historical and cultural context they had to face.