传统与现代的碰撞:南开新剧创作中的中国话剧意识——以张彭春的介入为节点

The Collision of Tradition and Modernity:The Consciousness of Chinese Drama in the Creation of Nankai New Drama-Take Zhang Pengchun’s Intervention as a Research Opportunity

南开新剧的剧作以“神”与“形”两个方面的发展与融合促进了中西戏剧艺术交融背景下的“中国传统”与“世界现代”的文化碰撞。而在这一过程中,张彭春的介入尤为重要,由此开始南开新剧的“神、形”得以定型并进入南开新剧运动关键的“窗口期”。这一以突出教育功能的局部地域性话剧实验,真正实现了以“神”启“形”、以“形”铸“神”、互为表里的话剧艺术内涵表达,完成了中国现代话剧意识“他者中的自我”的身份自省。

With the development and integration of“Spirit”and“Form”,the new plays of Nankai promote the cultural collision between“Chinese tradition”and“World modernity”in the context of the blending of Chinese and Western dramatic arts.In this process,the intervention of Zhang Pengchun was particularly important,and from then on the“Spirit and form”of the new plays in Nankai were finalized and entered the critical“Window period”of the new play movement in Nankai.This local drama experiment,which emphasizes the educational function,has really realized the expression of the drama’s artistic connotation of“Spirit”revealing“Form”,“Form”casting“Spirit”,and mutual expression,completing the self-examination of the consciousness of“The ego in others”in modern Chinese drama.