论《新村正》为中国话剧确立的“界碑”——从话剧起源的百年争议谈起

Study of New Village Head as a Boundary Stele of Modern Chinese Dramas:Starting from a Century-Old Dispute over the Origin of Dramas

话剧起源问题百年争议的背后,既有早期话剧的丰富性、模糊性和复杂性原因,也有文献不足和相互矛盾的因素,更不可忽视材料解读者的情感作用,因此,即使再过百年,话剧的起源也难有定论。在此情况下,我们不如把目光聚焦到话剧是何时在中国确立及其标志是什么的问题上。借鉴陈军提出的文学史分期的“界碑”理论及董健关于戏剧现代性标准和现实主义的表导演及舞台准则,我们可以确认南开新剧团的《新村正》是我国话剧确立的“界碑”。

Various reasons lead to the century-old dispute over the origin of modern Chinese dramas,including the rich but vague and complex dramas in the early period,inadequate and incoherent literatures and the emotional factors of material interpreters.It is hard to determine the origin of dramas even after another one hundred years.Therefore,it is better to pay attention to the time and symbols that drama was established in China.According to the boundary stele theory proposed by Chen Jun and Dong Jian’s theory regarding the modernity of dramas and realist principles of performance,director and stages,it is concluded that New Village Head made by the Nankai New Troupe represents the boundary stele of modern Chinese dramas.