摘要
目前学界对国剧运动的研究多以1927年余上沅根据1926年夏《晨报副刊·剧刊》所发表文章编辑的《国剧运动》为主要资料,外加同时代人物如闻一多、梁实秋等的著作和回忆及一些理论文章,研究重心多集中在写意、话剧民族化、文化保守主义等理论层面。本文从戏剧史学的角度运用几组被忽视或不为人知的1922-1926年间的资料,研究国剧运动及其主将余上沅的思想脉络,国剧运动于1926年异军突起的前因后果,及其三个月后急速偃旗息鼓的实际原因。
Present studies of China' s National Theatre Movement(guoju yundong) are mostly based on the 1927 book National Theatre Movement,edited by Yu Shangyuan from a collection of articles published in Chenbao Theatre Supplement in the summer of 1926,and the works and memoirs of Yu' s contemporaries such as Wen Yiduo and Liang Shiqiu.These studies usually focus on theoretical discussions of such concepts as xieyi,huaju nationalization and cultural conservatism.As a theatre historiographical study,this article utilizes several groups of ignored or unknown sources between 1922 and 1926 to analyze the cognitive evolution of the National Theatre Movement and its champion Yu Shangyuan,the preparation for and aftermath of the movement's emergence in 1926,and the actual reasons behind its sudden demise after only three months.
出处
《南京大学学报(哲学.人文科学.社会科学)》
CSSCI
北大核心
2016年第2期119-127,160,共9页
Journal of Nanjing University(Philosophy,Humanities and Social Sciences)