论斯特林堡戏剧在中国20世纪二三十年代的接受困境

Awkawd Greeting: Strindberg's Plays in China 1920-1930

斯特林堡作为瑞典最著名的戏剧家,剧作众多,且风格多样,在他生前和死后在英、法、德等欧洲国家和美国都产生了巨大的影响。但是十分遗憾的是,斯特林堡的剧作在当时的中国却没有发生特别大的影响,学习和模仿、崇拜者鲜有其人。斯特林堡戏剧处于时代的变革期,他的戏剧具有时代的开创性,但并不最具代表性。斯特林堡戏剧与当时流行的易卜生戏剧具有明显的区别,甚至是反易卜生主义的。因为时代、环境和民族的关系,斯特林堡的剧作在当时的中国还不能够被理解和接受。特别是斯特林堡对待妇女和两性关系的态度不为当时的人们所理解和接受。

As the most renowned dramatist in Sweden, Strindberg is prolific, with versatile styles, and has made great impact in the US, Britain, France, Germany and other European countries. Most regrettably, Strindberg＇s drama did not reach China in any significant way, with few followers of that time to study, imitate or admire him. Not the most representative, dramatic works by Strindberg are initiative and belong to the times of transformation. Strindberg＇s drama differs from Ibsen＇s explicitly, or even contradicts Ibsenism. Strindberg＇s works could not be understood or accepted in China then due to historical, environmental and ethnical circumstances. Strindberg＇s view of woman and the relation between the two genders were not understood or accepted by the audience of the time.