摘要
与其他8部老舍抗战戏剧不同,《归去来兮》直接呈现的核心思想是美与丑的矛盾。一个始终纯粹的欲求美的画家和一个始终功利的欲求金钱的商人是戏剧矛盾呈现的思想两极;介乎其间,是始终犹豫的“罕默列特”(乔仁山)。老舍以此为切入点,剖开40年代初抗战大后方社会思想现状,梳理其中矛盾时也展示出自己的思想主张:在艺术性和人民性之间,坚定地选择人民性。
Unlike Lao She's other eight anti-Japanese war plays,the core idea directly presented in Return(Gui Qu Lai Xi)is the contradiction between beauty and ugliness.The two ideological poles presenting the dramatic conflict are a painter who consistently and purely desires beauty,and a merchant who consistently and pragmatically desires money.In between them is the perpectually hesitant"Hamlet"(Qiao Renshan).Lao She uses this as an entry point to dissect the social and ideological state of the great rear area during the early 1940s Anti-Japanese War,and while sorting out the contradictions within it,he also demonstrates his own ideological stance:a firm choice of"people-ness"over artistry.
作者
杨晓河
张贺
Yang Xiaohe;Zhang He
出处
《四川戏剧》
北大核心
2025年第7期19-24,共6页
Sichuan Drama
基金
中央高校基本科研业务费重点项目“中国现代文学爱欲思想研究”(项目编号:SWU2109229)
国家社科基金重大项目“中国现当代文学思想史”(项目编号:19ZDA274)的研究成果。
关键词
老舍
《归去来兮》
美与丑
抗战大后方
艺术
人民性
Lao She
Return
Beauty and Ugliness
Anti-Japanese War Great Rear Area
Art
Populism
