五四以来婚姻爱情戏剧的八种模式——历史纵览的报告

Eight Modes of Romance and Marriage on Stage Since the May 4^th Movement

人格独立、个性自由、婚姻自主是五四新文化运动中的重要内容。从《中国现代戏剧总目提要》《中国当代戏剧总目提要》纵览这一精神百年来的戏剧表现,可以概括出作为创作套路的八种模式。20世纪10年代末和20年代,出现了"正面宣示式""展现恶果式""悲凉心态式"和"观念探讨式"四种,反映出婚姻爱情观念是当时社会的热点问题。在40年代,出现了讽刺旧文化残余的"嘲笑旧俗式",在50年代,则有配合《婚姻法》颁布的"法制宣传式"。此后,由于"极左"思潮肆虐,产生了"革命化爱情式"的戏剧,80、90年代出现的"肯定人欲式"则是对"极左"的历史性反拨。八种模式不是编剧法研究,而是借助戏剧的文化历史研究,呈现一幅具体可感的历史画卷。

Personality independence,spiritual freedom and marriage autonomy are the main concerns of the May 4th Movement. Based on The Catalogue Abstract of Modern Chinese Theatre and The Catalogue Abstract of Contemporary Chinese Theatre,this paper gives a survey to the expression of these concerns in theatre in the past one hundred years,putting them into eight categories of creation modes. Four modes of the plays,"direct declaration","display of evil consequences","misery and desolation",and"concepts discussion",began to take form at the end of the 1910 s and in the 1920 s,which showed that the focus of social lens was on love and marriage. Then,the mode of"old custom ridicule"appeared in the 1940 s,mocking the residue of the old customs. The 1950 s saw the appearance of the mode of "legal publicity",which was partially a result of the enactment of the Marriage Law. Thereafter,the mode of "revolutionary love " was generated due to the widespread of the ultra-leftist thought. The mode of"acknowledgement of human desires"in the 1980 s and the 1990 s was a historic rebellion against the ultra-leftist thought. The categorization of the eight modes is not a study of dramaturgy,but a study of culture and history by means of stage research,which aims to present a tangible view on historical development.