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“五四”运动前夕,在反对旧文化、旧道德声势浩大的新文化浪潮中,以胡适为首的一批资产阶级在文化方面的激进派,他们以《新青年》刊物为基地,发动了强大的舆论攻势,将戏曲作为封建文化给予彻底否定了。同时提倡引进西方戏剧,以取代“旧剧”。就戏曲这一拥有广泛群众的艺术来讲,这一攻势只不过是秀才纸上谈兵,声势尽管十分唬人,却没能触动戏曲之万一,它的锣鼓依旧在广袤的城乡土地上敲打着。然而他们的言论却在知识界造成了思想上的混乱。如何对待旧剧,如何看待西方戏剧,中国戏剧向何处去,在一片低声调议论中莫衷一是。1925年前后,以余上沅、赵太侔为首的一批从欧美留学归国的青年戏剧家,怀着宏大的戏剧理想,试图在中华大地上建立起一个新的戏剧模式,开辟一条新的戏剧发展途径,倡导发起了所谓的“国剧运动”,给这一沉闷的空
On the eve of the May 4th Movement, among the wave of new cultures opposing the old culture and the old morality, a group of bourgeois radicalists in the culture headed by Hu Shih led the “new youth” publication as a base to launch a strong Of the media offensive, the drama as a feudal culture to give a total negative. At the same time to promote the introduction of Western drama, to replace the “old drama.” In terms of drama, an art with a broad mass of people, this offensive is nothing more than a mere scholarly talk of the paper. Despite its bluffing momentum, it can not touch the opera if its percussion is still beaten on vast urban and rural land. However, their remarks caused ideological confusion in the intellectual world. How to deal with the old drama, how to treat the Western drama, where to go to Chinese drama, in a low tone of the talk is incomprehensible. Around 1925, a group of young dramatists headed by Yu Shangyuan and Zhao Taizhi, studying abroad in Europe and the United States, tried their best to establish a new drama mode in the vast land of China and opened up a new avenue for dramatic development with a grand theater ideal. Advocacy launched the so-called “National Campaign” to give this boring empty