论文部分内容阅读
《上海屋檐下》是夏衍作为左翼戏剧家最重要的戏剧作品。本文通过对剧中匡复、杨彩玉和林志成三人的内心分析提出:戏剧人物并没有按照他们的内心来展开行动。其根本原因在于:三人的爱情悲剧已被拯救国家的革命正剧所置换。作为一出左翼戏剧,革命正剧对爱情悲剧的置换源于夏衍的创作观对戏剧的影响。这种影响最终导致了剧作家对革命的悲剧性和个人生活的悲剧性的忽视。本文基于此对《上海屋檐下》进行了重新解读。
“Under the Roof of Shanghai” is Xia Yan as the most important dramatist of left-wing dramatists. Through analyzing the psychological analysis of Kuang Fu, Yang Caiyu and Lin Chih-cheng in the play, the thesis puts forward that the dramatists do not act according to their heart. The fundamental reason is that the three tragedies of love have been replaced by the revolutionary drama of the saving country. As a left-wing drama, the replacement of the revolutionary drama and the tragedy of love stems from the influence of Xia Yan’s creative concept on the drama. This influence ultimately led to dramatists who ignored the tragedy of the revolution and the tragic loss of personal life. Based on this, this essay re-interprets “under the roof of Shanghai”.