摘要
胡适在五四时期对于传统戏曲的批判和对李渔戏曲的肯定,都出自于剧场性这一戏剧的根本特性。胡适认为李渔戏曲特有的曲折而充满矛盾纠葛的情节,性格丰富复杂的人物,恢谐风趣的宾白,对生活和人情的细腻体会,决定了李渔戏曲是活的文学的样本。胡适这种客观和充满学理性的态度,决定了他在五四时期的戏剧理论不仅在当时,而且在今天对于中国戏剧的发展都具有极大的合理性。
During the May 4th Movement period, Hu Shi＇s criticism of traditional Chinese operas and his approval of Li Yu＇ operas resulted from ‘theatering＇, an essential trait of operas. Hu Shi believed that Li Yu＇s operas have intricate and contradictory plots, complicated characters, humorous dialogues and subtle description of life and human feelings, which determines that his operas are living specimens of literature. Hu Shi＇s objective and rational attitude ascertains that his theatrical theory is very reasonable to the development of Chinese operas not only at that time but also at present
出处
《新疆大学学报（哲学社会科学版）》
CSSCI
2008年第2期123-126,共4页
Journal of Xinjiang University(Philosophy and Social Sciences)
