“五四”时期的新、旧戏剧观论争及其现代性追求述论

Debate on Theatre Innovation and Its Pursuit of Modernity during May theFourth Movement

发生在“五四”时期的新、旧戏剧观念论争是不可避免的,因为它是时代及戏剧发展的必然。“五四”时期的这场关于新、旧戏剧观的论争,从学理上看更近似于一场关于戏剧现代性追求的论争。以胡适等为代表的《新青年》派着力从外部以矫枉过正的方式强行推行戏剧的启蒙现代性进程;以张厚载等为代表的保守派则主要于审美的范畴内进行戏曲的现代化追求。从时代性这一层面而言,《新青年》派更具时代的进步意义,但保守派的理论主张也别具历史的合理性。

The controversy over the Old and New concepts of theatre in the May-Fourth movement was the inevitable outcome of the evolution of history and the development of theatre. The controversy can be viewed as a debate on the pursuit of modemity in theatre. The New Youth circle represented by Hu Shi, exerted themselves in a radical and forced pursuit of the enlightenment modemity, while the conservatives represented by Zhang Houzai favored an aesthetic approach to the reform of the traditional theatre along the lines of modemity. While the New Youths should be considered progressive in their endeavor, the conservatives must also be viewed with respect for their kind of rationality.