新文化运动关于中国传统戏废兴争锋始末考.doc

新文化运动关于中国传统戏废兴争锋始末考 —胡适等与张厚载掀起的一场关于国剧废兴大讨论始末 胡世超 交通运输专业 08级 交通运输07班 指导老师：胡子祥教授 摘要 自清代乾隆55年（公元1790 年），著名的四大徽班（即唱安徽徽剧的三庆、四喜、春台、和春等四个戏班）相继到北京至合并后，在原有的声腔及表演艺术基础上，接受昆曲、秦腔的一些声腔和表演手法，还吸取了一些民间曲调及演技，博取众长努力提高，不断探索勇于创新，终于在嘉庆、道光年间形成了一个唱响京畿、倾倒四座的新剧种——京戏。清末民初，京剧这一花部艺术的发展达到了巅峰状态，是梨园界独放异彩的奇葩，后被推为国粹。然而京剧艺术的发展并非一帆风顺。在新文化运动中，国剧艺术遭到了诸如胡适、钱玄同、刘半农、陈独秀等文人学士以革命者身份的批判和审视。在《新青年》4卷6号上的一组关于旧戏的讨论中，张厚载对“学术权威”的挑战之作使众人对中国旧戏的废兴讨论推到了风口浪尖。让我们追寻历史的蛛丝马迹去寻找讨论背后的环境和历史，挖掘深层的现实意义。 关键词：四大徽班；京戏；国粹；新文化运动；中国旧戏；废兴 Abstract Since the year of 1790 in Qing dynasty , four famed theatrical troupe which are named San qing, Si xi, Chun tai, He chun enter the capital. later years, they combined together and adopt many tunes and performance skills of other Chinese operas such as Kun and Qin operas , besides, they took in some folk tunes and acting skills, learned widely from others strong points to promote themselves . With constantly exploration and boldly innovations , a new genre of drama named Beijing opera became in vogue in the populace of the capital .During the end years of Qing dynasty and beginning of the Republic of China, the art development of Beijing operas reached its peakedness ,it was known as the quintessence of Chinese culture years later because of herazzling glory in the whole operatic circle.however, she didnt make progress as right as rain, during the period of the New Culture movement ,she was criticized by these scholar who impose themselves as revolutionary. In the magazine of New Youth ,an article written by Houzai Zhang between a set of discussion about the old operas put the consideration of the life or death of Chinese traditional operas in the teeth of the storm. Let us pursue the history track to acquaint oneself with the temporal surroundings to unearth the deep-seated realistic significance . Key words: