摘要
颂歌模式是20世纪50年代前期"社会主义戏剧"创作的主要形态,它以歌颂新社会和新生活、颂党颂政颂领袖、歌颂国家建设新气象为主要内容。文章主要从歌颂内容、批判精神、个体地位三方面论述颂歌模式的戏剧建构及其现代性内涵或现代性不充分的方面,认为颂歌模式对人的关注,对自由、民主、人道、个性等现代意识的坚持,以及一定程度上对批判精神的承继,是其有功于戏剧现代化的方面。但创作上所存在的部分情感失真和人性单一,又使颂歌模式戏剧在展示现实生活的深度和广度方面存在一定缺憾。
Optimistic paean is the main form of Socialist theatre in the early 1950＇s;it mainly includes praise of the new society and new life,the party and the leader,and the construction of the new country.This article mainly discusses the construction of the eulogistic pattern,the modernity as well as lack of modernity in terms of the content of praise,the critical spirit,and individual status.The eulogistic pattern contributes to modernism of the theatre in its concern in human beings,its upholding of modernistic concepts such as freedom,democracy,humanism and personality,and to some extent its inheritance of the critical spirit;while the pattern undermines creation in the depth and width of the depiction of reality with the expression of delusive sentiment and uniform personality.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2012年第3期5-18,共14页
Drama:The Journal of the Central Academy of Drama
基金
西南民族大学中央高校基本科研业务费专项项目"‘社会主义戏剧’:模式建构与‘人’的失落--现代性视角下‘十七年’戏剧研究"【11SZYBS01】
南京大学"985"三期改革型重大项目"二十世纪中国戏剧研究"【NJU985JD04】的阶段性成果
