被“遮蔽”的屈原:二十世纪二三十年代六部屈原题材剧作

“Shaded”Qu Yuan—Six Dramas on Qu Yuan Theme in the 1920s and 1930s

郭沫若创作于1942年的历史剧《屈原》,基本奠定屈原的现代形象。事实上,郭剧之前,已存在的六部以屈原为主角的现代剧作郭沫若独幕诗剧《湘累》(1920)、王显廷独幕剧《怀沙》(1929)、高佩琅六幕话剧《屈原》(1934)、止戈二幕话剧《抱石投江》(1935)、侯枫三幕歌剧《屈原》(1936)、茨荪独幕剧《汨罗江畔》(1939)塑造了别样的屈原形象,然而多未被学界关注。对这几部作品的作者、剧艺及屈原形象等进行考析,一方面可为屈原形象研究提供新的面向;另一方面亦可考察二十世纪二三十年代中国知识分子如何借屈原发抒情感、确定自我身份的戏剧实践。

Qu Yuan's modern image was basically established in Guo Moruo's historical drama“Qu Yuan”created in 1942.As a matter of fact,six dramas had been produced prior to that one,viz.,Guo Moruo's one-act poem“Xiang Lei”(1920),Wang Xianting's one-act play“Huaisha”(1929),Gao Peilang's six-act drama“Qu Yuan”(1934),Zhige's two-act drama“Boosting Stones and Throwing a River”(1935),Hou Feng's three-act opera“Qu Yuan”(1936),Cisun's one-act drama“Miluo Riverside”(1939).These works have created a different image of Qu Yuan,but most of them have been ignored by the academic circles.This paper aims to analyze the author and dramatic image of Qu Yuan of these works.On the one hand,it can provide a new dimension for the study of Qu Yuan's image;it can also examine how Chinese intellectuals express emotions and confirms self-identity by choreographing drama on Qu Yuan in the 1920s and 1930s on the other.