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1962年到1965年间,一系列反映当代生活或是革命传统的戏剧被精心创作出来,并且对整个国家的文化生活产生了广泛的影响。文化部特地于1964年3月召开了一次前所未有的授奖大会,表彰上一年出现的21部戏剧作品,其中最受欢迎的是四幕话剧《年青的一代》。在一个充满激情和期待、欢呼“青春万岁”、集体沉浸在对人类幸福进行大胆梦想、誓将平淡人生化为火热生活的时代里,这首倍受称赞的社会主义青春之歌无疑是抒情式的,它集中展现了那个渐行渐远的“抒情年代”的历史想象和文化逻辑。论文通过这个话剧来揭示出20世纪中叶中国的抒情文化所要竭力克服的深层焦虑和不满情绪,从而对这一抒情文化进行一次考古式的挖掘。这样一次挖掘和揭示意味着不仅仅是重新建构当时在舞台上所表演出来的、可见可感的部分,同时也是去发现在舞台表现和戏剧冲突后面隐含的逻辑和用意。
From 1962 to 1965, a series of plays reflecting contemporary or revolutionary traditions were elaborated and had a widespread impact on the cultural life of the entire country. In March 1964, the Ministry of Culture convened an unprecedented prize-giving ceremony in recognition of the 21 drama productions that appeared in the previous year. The most popular of these was the four-screen drama “The Young Generation.” In a time full of passion and expectation, cheers, “the collective immersion in a daring dream of human happiness and a vow to transform ordinary life into a fiery life, this acclaimed song of socialist youth is undoubtedly Lyricism, which focuses on the historical imagination and cultural logic of the lopsided ”lyrical age". Through this drama, the dissertation reveals the deep anxiety and dissatisfaction that China’s lyrical culture must strive to overcome in the mid-20th century so as to conduct an archeological excavation of this lyrical culture. This excavation and revelation means more than just reconstructing the visible part of what was happening on the stage at the same time, but also to discovering the implied logic and intention behind the performance of the stage and drama.