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本文是为纪念《雷雨》诞生80周年撰写的论文。文中分三个阶段回顾了《雷雨》在日本演出、翻译及研究的历史。第一个阶段是1930-1940年代,是介绍和研究的初期阶段,1935年中国留学生在日本演出《雷雨》后引起了日本剧界的关注,此后,由秋田雨雀做序的日文版《雷雨》问世,继而出现了多种剧评和书评。第二个阶段是1950-1970年代,演出和研究都进入了专业和系统的阶段。这一时期有多家日本职业剧团演出该剧,学界也出现了不少研究曹禺的专家。第三个阶段是1970年代至今,《雷雨》的日译出现多种版本,其演出、翻译、研究工作都已走向成熟。2006年,在东京举办的“中国文化节”上,北京人艺演出的《雷雨》引起轰动。在日本,《雷雨》已成为中国文化的一个代表性符号。
This article is to commemorate the 80th anniversary of the “Thunderstorm” written essay. The article reviews the history of “Thunderstorm” performance, translation and research in Japan in three stages. The first phase was from the 1930s to the 1940s. It was the initial stage of introduction and research. After Chinese students staged a thunderstorm in Japan in 1935, they attracted the attention of the Japanese theater industry. Since then, the Japanese version of “Thunderstorm” Advent, followed by a variety of drama reviews and book reviews. The second stage was between the 1950s and the 1970s, with both performance and research entering a professional and systematic phase. During this period, there were a number of Japanese professional troupes performing the drama, and many experts in the study of Cao Yu appeared in the academic circle. The third stage is from the 1970s to the present day. There are many versions of the Japanese translation of Thunderstorm, and their performance, translation and research work have matured. In 2006, the “Thunderstorm” performed by Beijing Renaissance at the “Chinese Culture Festival” held in Tokyo caused a sensation. In Japan, “Thunderstorm” has become a symbol of Chinese culture.