论文部分内容阅读
胡适在五四新文化运动中 ,从文化革新的立场出发 ,团结了一些持不同意见的人 ,开展了中国戏剧改革的认真讨论。他主张联系现实斗争 ,引进易卜生主义与悲剧观念 ,这不仅是当时戏剧改革的需要 ,也是五四新时代提倡思想独立、敢于说真话的必须。在当时对待民族戏剧的态度上 ,胡适与钱玄同、周作人不同 ,他从历史进化论出发 ,一方面对传统旧戏剧、特别是元杂剧给予很高的历史评价 ,另一方面又力主学习外国新戏剧 ,“取人之长 ,补我之短” ,努力发展民族新戏剧。但是他对传统戏剧的“遗形物”的夸大描述 ,仍然反映了五四时代的历史局限
In the May Fourth New Culture Movement, Hu Shih unite with dissidents from the position of cultural innovation and conducted serious discussions on the reform of Chinese drama. He advocated linking the real struggle and introducing Ibsenism and tragedy concepts. This is not only the need of drama reform at the time, but also the necessity of promoting independence of thought and daring to speak the truth in the new May 4th Movement. Different from Qian Xuan Tong and Zhou Zuoren, Hu Shi considered the history of national drama at that time. He proceeded from the theory of historical evolution. On the one hand, he gave a high historical evaluation of the traditional drama, especially the Yuan drama. On the other hand, New drama, “take people long, fill me short” and strive to develop new national drama. However, his exaggerated description of the “legacy” of traditional drama still reflects the historical limitations of the May 4th Movement