摘要
1907年西方话剧间接地从日本传入上海等地一直是学界主流的认同,而1909年初自欧美直接将西方话剧输入到南开等地的事实却一直没有得到学界应有的重视,其原因就在于用是否是"进步话剧"的尺度来衡量。受张彭春"作纯艺术之研究"观念影响创作出几部杰作之后的曹禺,却被当时占主导地位的"进步话剧"的引领者们引入了歧途,这正是曹禺与20世纪中国话剧的命运。
Western drama indirectly introduced to Shanghai through Japan in 1907 has been acknowledged.However,drama introduced to Nankai directly from European countries in 1909 has not been paid much attention to,because it was considered to be not so advanced.Cao Yu who wrote several masterpieces under the influence of ＂pure artistic research＂ advocated by Peng Chun,was later unfortunately guided towards a wrong direction impacted by ＂advanced drama conception＂.That was just the destiny of Cao Yu and Chinese drama in 20th century.
出处
《艺术百家》
CSSCI
北大核心
2011年第1期145-147,共3页
Hundred Schools In Arts
