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“五四”时期,各种西方文艺思潮纷纷涌入中国,唯美主义、象征主义、表现主义戏剧等恰逢时代甘霖,在我国文坛引发了极大震动,当时的剧作家们无一不从中汲取营养,以丰富自己的创作。其中,曾经留学日本的杨骚是比较特别的一位,他的“诗剧三部曲”(《心曲》《迷雏》《记忆之都》)把唯美主义、象征主义和表现主义完美融合,不仅以三部曲的体式开创了中国戏剧史上大型诗剧的先河,而且在中西文化交汇的存在空间中,言说了现代青年从柏拉图式恋爱及基督教的泛爱、博爱,而逐渐转向现代
In the period of the May 4th Movement, all kinds of western ideological and artistic trends poured into China one after another. Aestheticism, symbolism and expressionism drama coincided with the times, causing a great shock in our literary world. At that time, none of the playwright Learn from nutrition to enrich their own creation. Among them, Yang Sao, who had studied in Japan for a while, was a rather special one, and his “Trilogy of Poetry” (“Xinqu”, “Miracle”, “Memory of the City”) perfected Aestheticism, Symbolism and Expressionism Integration not only opens up the precedent of large-scale poetry and drama in the history of Chinese drama in the way of trilogy, but also expresses the modern youth’s shift from Platonic Love and Christianity’s love and love to Platonic in the space where Chinese and Western cultures meet,