“为艺术”的践行之路——1912—1915年后期春柳的话剧剧本分析.pdfVIP

论文摘要 随着近代中国的大门打开，中国文学前所未有的受到外来艺术形式和外国文 学思想的冲击。在坚守中国文学核心不变的情况下，越来越多的文学创作者吸纳 外国文学精髓开始改造甚至开创中国文学新形式，中国近代话剧创作者们就是其 中的一员。而在众多中国近代话剧实践者中，春柳社的表现无疑是突出的，尤其 在春柳社后期，更是培养出了一批优秀话剧创作者，比如欧阳予倩、刘半农等， 还创作出了一系列成熟形式的话剧比如《恨海》、《家庭恩怨记》、《不如归》等， 可谓在中国近代话剧史上增添了浓墨重彩的一笔。 本论文旨在从后期春柳 1912——1915 年的话剧剧本出发，以剧本为中心， 从提示元素、对白设计、人物塑造、结构安排四个方面全面分析后期春柳作者在 剧本艺术性上的操作方法，找到其中的独特点和首创性，看后期春柳创作者们在 “为艺术”这条道路上做出的努力，引起人们在艺术性上对春柳社的关注，对后 期春柳艺术性的探索和追求道路给予客观的评价。 关键词：后期春柳 剧本 为艺术 5 Abstract With opening the door of modern China, Chinese literature was unprecedented impacted by foreign art forms and ideas of foreign literature. Under insisting of Chinese literature, a growing number of literary creators absorbed the essence of foreign literature to begin to transform the creation of new forms of Chinese literature; Chinese modern drama was the one of them which opened up new road. In modern Chinese drama’s history, Chun lius performance was outstanding, especially the later period Chun liu, was training a group of excellent creators, like Ouyang yu qian, Liu ban nong, and creative drama out of the mature form of drama, like ”Hen hai”and so on. They were added a thick and heavy in colours in the modern history of Chinese drama. This paper aims on 1912——1915 Chun liu’s drama script , and make the script as the center. I will be based on the tips of elements, dialogue design, characterization and structural arrangement to comprehensive analysis of the later period Chun liu’s creative, and finding out unique something and the first to see in the later period Chun liu’s creative. I will find out the later period Chun liu ’s authors effort on “for art”, and lead people pay more attention on the Chun liu. At last, I want to give an objective evaluation for the the later period Chun liu. Keywords: the lat