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南国社的演剧风格可用唯情主义来概括,舞台实践注重话剧的主体建设,淡化了话剧的教化功能,将演剧的中心由文明戏时代的演“政治”回归到了“人”本身,在一定程度上弥补了文明戏对观众审美心理的破坏。南国社的演剧活动之所以能在当时引起巨大反响,一方面在于南国社舞台演出的质朴和真挚,另一方面还在于田汉自主的剧本创作,南国社的演出是一种苦难仪式,在一个封闭的阈限空间内表现了中国20世纪20年代知识分子阈限的心理矛盾和生活状态。揭示了大革命之后的中国社会现状和知识分子观众的情绪状态。
The style of Nanguo’s drama can be summed up by the use of emotionalism. The stage practice pays attention to the construction of the main body of drama and plays down the dramatization function of drama, returning the center of drama from “political” to “human ”Itself, to some extent, make up for civilized drama on the viewer’s aesthetic psychological damage. The reason why Nanguo’s drama activities were able to arouse great repercussions at the time was that the performance of Nanguo Society was simple and sincere on the one hand and that of Tian Han’s independent script writing on the other. Nanguo Society performed a misery ceremony, The threshold of confinement shows the threshold of psychological contradictions and living conditions of Chinese intellectuals in the 1920s. Revealed the status quo of Chinese society after the Great Revolution and the emotional state of intellectual audiences.