摘要
20世纪20年代的中国历史剧是中国现代历史剧创作的起点。因个性主义时代思潮的渗透,该时期的历史叙事在价值追求上往往呈现为一种大我化倾向,用现代镜像理论来考察,即发现"大我"是"五四"时期的文化镜像,它对于中国历史剧实现现代性转换的促进作用是巨大的。在郭沫若、王独清、顾一樵等人的历史剧中,这种价值取向体现为对时代所期望的"超人"、"女神"和"英雄"等意识形态之物进行文化询唤,并在艺术审美上表现出新的特质。但是,受时代、文化等因素的影响,这种文化镜像往往有历史复杂性与局限性的一面,需要我们以批判的眼光进行审视、权衡。
Chinese modern historical drama started in the 1920s.With infiltration of individualism,the value of historical narration at that time was often to pursue a superior individual.From the point of modern mirror-image theory,the superior individual became a cultural mirror-image of the Five-four Age,which had played a huge role in promoting the modern transformation of Chinese historical drama.In historical plays written by Guo Mo-ruo,Wang Du-qing and Gu Yi-qiao,this value pursuit lied in the cultural inquiry to such ideological things as superman,goddess and hero desired by the age,and showed new features in artistic aesthetics.However,influenced by the time,culture and so on,the cultural mirror-image has historical complexes and limitations,which need critical judge and weigh.
出处
《文化艺术研究》
2013年第1期118-126,共9页
Studies in Culture and Art
基金
教育部人文社会科学重点研究基地重大项目<二十世纪中国话剧创作主潮>(项目编号:12JJD750006)的阶段性成果之一
关键词
20世纪20年代
历史叙事
大我
文化镜像
文化询唤
1920s
historical narration
superior individual
cultural mirror-image
cultural inquiry
