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在《方珍珠》的写作及批评的反馈中,老舍的创作观完成了从前期向后期的转换。《龙须沟》从开始写作到获得高度的表扬,都有政治领导人甚至是最高层领导人的意见在起作用。正是为了配合政治需要,老舍才大胆地写作自己并不熟悉的题材。显然,《龙须沟》是在与《方珍珠》不同的创作模式中运作的。由此,《龙须沟》乃成为划分老舍前后期的作品。《龙须沟》在新模式中运作的成功,进而使老舍形成了“赶任务”的创作观。“赶任务”的创作观的内涵为:主题先行论与题材决定论以及歌颂和拔高先进人物。老舍修改《春华秋实》的过程,则体现了50、60年代中国戏剧生产最典型的运作模式:剧本高度政治化、法规化,三结合创作方法,剧本须跟着政策的变动或发展而反复修改。这样一种戏剧生产模式,其时广泛地运作在各省、市、县不同的层次上。然而,单纯的歌颂倾向及敢于写自己不熟悉的题材的做法,无疑给老舍的话剧创作留下了严重的隐患。自《龙须沟》以后,老舍的剧作质量便往下滑,他已经深深地陷入了困境。然而,一个偶然的机缘使老舍回到了自己所熟悉的题材上,从而使他创造出了他本人以至整个中国话剧史上的精品——《茶馆》,但《茶馆》以后,老舍的话剧创作就又迅速地跌落了下去。1961年,老舍离开了现实题材的创作。他所信奉并努力实践的“赶任务”的创作观,黯然收场了。老舍这一阶段话剧创作的历程对于理论史的意义,在于从一个典型的例案上,鲜明地表现了一整个时代戏剧生产模式的特点及其运作的具体情况,表现了在当日占主导地位的“赶任务”的创作观从兴起到黯然收场的过程。此外,还表现了在社会政治学模式统治时期艺术精品产生的艰难性,及其所需要付出的沉重的人生代价。
In the writing of “pearl” and feedback from criticism, Lao She’s creative concept has completed the transition from the previous period to the later period. “Longsugou” From the beginning of writing to a high degree of recognition, all political leaders and even top-level leaders at work. It is in order to meet the political needs, Lao She was bold to write the subject they are not familiar with. Obviously, “Longsugou” operates in a different mode of creation than “Fang Zhenzhu”. As a result, “Longsugou” has become the division of Lao She’s works before and after. The successful operation of “Longsugou” in the new model, which in turn led Lao She to form a creative concept of “chasing tasks”. The connotation of creative concept of “rush to work” is that the theme first theory and theme determinism, as well as the praise and elevation of advanced people. The process of modifying Chunhua Qiushi by Lao She embodies the most typical mode of operation of Chinese theater production in the 1950s and 1960s. The script is highly politicized, regularized and combined with three creative approaches. The script must be revised repeatedly as the policy changes or develops. Such a drama mode of production, when widely operated in various provinces, municipalities and counties at different levels. However, the simple practice of praising the tendency and daring to write unfamiliar themes undoubtedly left a serious hidden danger to Lao She’s drama creation. Since the “Longsugou”, Lao She’s drama quality will decline, he has been deeply into trouble. However, by chance, Lao She returned to his familiar subject, so that he created his own and even the whole Chinese drama history boutique - “Tea House”, but after the “Tea House”, Lao She’s drama creation and Dropped quickly. In 1961, Lao She left the creation of a realistic theme. His beliefs and efforts to practice “catch mission” creative concept, sadly ended. The significance of the process of drama creation in this phase of Lao She’s theory to the history of the theory lies in clearly showing from a typical case the characteristics of the drama production mode in an entire era and the specific conditions of its operation. “Rush mission ” creative concept from the rise to sadly ended the process. In addition, it also shows the difficulty of producing fine arts in the period of the rule of sociopolitical model and the heavy price of life it needs to pay.