摘要
学界以往有关左翼话剧的研究大多聚焦于“大众化”与“概念化”创作的意义或局限,对于话剧作品中微观话语的性别内涵及其美学意蕴总体持有不重视态度,常以比较单调刻板的政治感官来看待左翼剧作家所刻画的女性形象。本文通过对田汉、白薇左翼话剧创作的个案考察,从中一窥左翼文艺运动中剧作家性别意识的丰富图景,及其如何在作品中通过性别话语的内在调和以重构现代戏剧的叙事美学形态,为20世纪30年代中国戏剧现代性的发展作出了重要贡献。
Previous scholarship on leftist drama has predominantly focused on the significance or limitations of its"popularization"and"conceptualization"in creation.It has largely neglected the gendered implications and aesthetic significance of the micro-discourses within these dramatic works,often viewing the female characters portrayed by leftist playwrights through a comparatively simplistic and rigid political lens.Through a case study of the leftist dramatic works of Tian Han and Bai Wei,this paper examines the rich landscape of gender consciousness among playwrights within the leftist literary and artistic movement.It explores how this consciousness,mediated through the internal negotiation of gender discourse within their works,contributed to reconstructing the narrative aesthetic form of modern drama,thereby making significant contributions to the development of theatrical modernity in 1930s China.
出处
《四川戏剧》
北大核心
2025年第7期76-80,共5页
Sichuan Drama
基金
中央高校基本科研业务费专项资金“二十一世纪中国的思想话语与文学生产的互动关系研究”(项目编号:1243300002)资助。
关键词
左翼话剧
田汉
白薇
新女性
戏剧现代性
Leftist Drama
Tian Han
Bai Wei
New Women
Theatrical Modernity
