摘要
在中国戏剧发展史上,国剧运动意指1926年前后余上沅、赵太侔、熊佛西、闻一多等留美学生归国后开展的一场短暂的戏剧艺术实践。国剧运动派的“初心”是试图在中西跨文化视域中重新评估和定义中国旧剧的价值,以实现民族文化传统的再生产,这是一种建构民族文化的主体性想象的过程,也是在“西强东弱”的国际格局中重建东-西方权力结构重要的探索性尝试。在理论上,国剧运动派力图融合中西方戏剧的“写实/写意”传统,建设具有“中国性”的民族戏剧,然而这种对于文化差异性的强调难免落入“自我东方化”的陷阱,也导致了“国剧”的民族性理念在其文化价值的论争中解构了自身。在实践中,由于国剧运动派对本土的文化环境缺乏深度考量,以及在“国剧”办学方针上的含混和剧本创作上的薄弱,导致国剧运动最终游离于中国社会“反帝反封建”的时代主流。然而,在百年后文化复兴成为主流叙事的今天,国剧运动对民族文化的主体性想象与实践悖论,为我们如何集成和创新中华文化提供了宝贵的启示,也为我们理解全球化格局中的中西方文化关系提供了更为深刻的意义维度。
In the history of Chinese drama,“National Drama Movement”refers to a short-lived drama practice conducted by overseas students such as Yu Shangyuan,Zhao Taimo,Xiong Foxi and Wen Yiduo after their return to the China around 1926.The initial aspiration of National Drama Movement is to reevaluate and redefine the value of traditional Chinese dramas in a cross-cultural perspective,so as to realize the reproduction of the national cultural tradition,which is not only a process of imagining and constructing the subjectivity of national culture,but also an important exploratory attempt to reconstruct the East-West power structure in the international situation where the West overpowered the East.In theory,the advocates of National Drama tried to integrate the“realistic/freehand”tradition of Western and Chinese drama,and to build a certain kind of National Drama with“Chinese characteristics”.However,their emphasis on cultural differences inevitably fell into the trap of self-orientalization,which led to the deconstruction of the concept of National Drama in the domestic debate over its cultural values.In practice,the advocates of“National Drama”lacked an in-depth consideration of the domestic Chinese cultural environment,and turned out to be ambiguous in the teaching of National Drama and weak in playwriting.As a result,National Drama Movement eventually deviated from the mainstream discourse of“anti-imperialism and anti-feudalism”in Chinese society of the day.However,today,when cultural revival has become China's mainstream narrative,the imagined subjectivity of national culture and the paradoxical practice performed by National Drama Movement provide us with valuable inspirations on how to integrate and innovate the elements of Chinese culture,as well as a more profound dimension to understand the cultural relationship between China and the West in the globalization pattern.
出处
《文史哲》
CSSCI
北大核心
2023年第6期141-152,165,共13页
Literature,History,and Philosophy
基金
国家社科基金重大项目“中外戏剧经典的跨文化阐释与传播”(20&ZD283)的阶段性成果。
作者简介
周琦,北京交通大学语言与传播学院讲师、马克思主义学院博士后。
