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作为本体论根据,“真实”问题构成了郭沫若史剧研究的逻辑起点。研究者不能拘泥于历史真实,而应考量艺术真实,进而思考其文化真实。郭沫若史剧的艺术真实融汇了失事求似、诗意特征、表现主义等多种艺术特质,因此难以框范于单一的戏剧范型内。郭沫若史剧的文化真实呈现为政治与人道的伦理纠葛,后者的艺术效应尤为深远。研究者对郭沫若史剧生命充盈或匮乏的揭橥,具有叙事伦理批评的意蕴。
As an ontological basis, the issue of “real ” constitutes the logical starting point for the study of Guo Moruo’s historical drama. Researchers can not rigidly adhere to historical reality, but should consider the reality of art and then think about its cultural truth. The true art of Guo Moruo’s historical drama melts many artistic traits such as quasi-tragedy, poetic features and expressionism, which makes it difficult to frame a single drama model. The cultural reality of Guo Moruo’s historical drama shows the ethical entanglement between politics and humanity. The artistic effect of the latter is especially far-reaching. Researchers’explosion of the life filled with or without Kuo Mo-jo’s historical play has the implication of narrative ethics criticism.