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中国有没有“严格意义上的悲剧”?如何认识中国古典戏剧的悲剧精神?一直是中国学术界对中国古典戏剧作品争论不休的话题。本文拟以社会危机迭起的明清易代之际为历史背景,以中国君权社会下“士子”超越自身的“献祭”行为为切入点,着重选取其时具有典型意义的两个剧作,试图论述中国古典戏剧作品中不可忽视的悲剧精神。它们均以文弱之躯,精英之魂的“士子”为主人公;以国难当头或奸佞当道的危难时刻为戏剧情境,以“献祭”行为作为彰显自己信念的惟一选择,书写了一个个无愧于任何西方悲剧的“崇高”个体,体现了一种真正有价值的悲剧况味。这类剧作在中国古典戏剧作品中,姑且称之为“士子献祭”戏剧,它们作为一独特的戏剧品类,真正凸显了中国古典戏剧的悲剧之“魂”。
Is there any “tragedy in the strict sense” in China? How to understand the tragedy spirit of Chinese classical drama has always been a topic that Chinese academics argue endlessly about Chinese classical drama. This article intends to take the occasion of the Ming Dynasty and the Qing Dynasty as the social crisis as the historical background, with the Chinese monarchical society “scholar ” surpasses own “sacrifice ” behavior as the starting point, Two plays, trying to discuss the tragic spirit that can not be ignored in Chinese classical drama. They all use the weak man and the elite soul as the main character. Taking the distress moment of the national crisis as the drama scene or the “sacrifice” act as the only choice to demonstrate his belief, writing A “sublime” individual worthy of any western tragedy embodies a truly valuable taste of tragedy. Such plays in the Chinese classical drama, tentatively call “scholar sacrifice ” drama, as a unique drama category, it really highlights the tragedy “soul ” of Chinese classical drama.