摘要
自1922年尤金·奥尼尔被介绍进中国,至今已历90周年。90年中,中国在翻译、评论、上演及借鉴其创作方面,先后于20世纪30年代和80年代出现了两次高峰。前期影响主要体现在为曹禺、洪深等提供创作助缘,却被连天烽火阻断了发展行程;后期影响主要体现在学者们的研究和阐发,在戏剧界却未受到应有的重视。考察这一旅程,不仅可以了解一个民族接受外来作家的规律,还可考察中国现代戏剧发展中的得与失。
It has been 90 years since Eugene O'neill's plays were introduced into China in 1922.In these 90 years,there appeared two peaks in terms of translation,reviews,staging and using his creation for references.One is in the 1930s and the other in the 1980s.The influences during the first peak are mainly embodied in providing writing opportunities for such playwrights as Cao Yu,Hong Shen,but unfortunately blocked for further development by constant wars;and the effects during the second peak lie chiefly in Chinese scholars' research and interpretation,but the theatrical circles did not give them due attention.By observing this development,we can not only understand the regular pattern a nation accepts foreign writers,but study and inspect the development of Chinese modern drama.
出处
《南京晓庄学院学报》
2013年第1期67-73,124,共7页
Journal of Nanjing Xiaozhuang University
关键词
尤金·奥尼尔
中国传播
民族接受
戏剧发展
Eugene O'neill
dissimilation in China
national acceptation
development of drama