胡适与西方戏剧(1910—1917)

Hu Shi and Western Dramas (1910-1917)

在清末民初引进域外戏剧的潮流中 ,胡适是继王国维、齐如山而崛起的又一前驱。他注重西方戏剧名著的解读与舞台艺术的观摩 ,力求为新剧提供可资借鉴的“范本”。然而 ,这位最早解读、评论莎士比亚戏剧原著的前驱 ,到上世纪末仍被摒于中国莎学殿堂之外[1] ;他于民初对西方社会问题剧的研治、现代主义戏剧的接纳 ,也长期落在研究者的视域之外 ,未能获得应有的历史评价。本文意在探讨胡适留美期间对于西方古典和近现代戏剧的选择、汲取 ,及其在推动中国戏剧理论批评从古代向现代转型中的地位、作用。

In the last years of Qing Dynasty, Hu Shi appeared as another forerunner besides Wang Guo-wei and Qi Ru-shan in the trend of introducing foreign dramas into China. He attached importance to the interpretation of the famous works in western dramas and the observation of the stagecraft, so as to find the model for China's new dramas. However, this precursor was excluded from China's Shakespeare studies up till the end of last century though he was the first to persue and comment on the original works of Shakespeare in China. His studies of the western social dramas and acceptance of the idea of modernist dramas just after the founding of the Republic of China have neither been given due attention to for a long time or any positive historical appraisal deserved. This essay aims at looking into the fact that Hu Shi chose among and learnt from western classical and modern dramas when he studied in US and into his historical status and his contributions to the changes from classical period to modern period in Chinese theoretical criticism of dramas.