摘要
熊佛西的三幕剧《孙中山》首次发表于《大公报》,后易名为《医生王治康》出版。基于新发现的熊佛西《孙中山》手稿及《医生王治康》抄写定稿,依循文本发生学的研究路径,可以发现,从《孙中山》到《医生王治康》的文本嬗变,既有遵循戏剧艺术本体规律的修改,展现了熊佛西的创作热忱与艺术匠心;也有面对政治审查压力的权变性调整,在一定程度的妥协中竭力守护了剧作的艺术内核。从“热忱”到“权变”的嬗变,是艺术自律与政治他律在“前文本”层面交织博弈的结果,不仅生动诠释了文本发生学视域下“写作”与“重写”的动态机制,也为理解中国现代戏剧史中创作主体与权力意志的互动关系提供了典型个案。
Xiong Fuxi's three-act play Sun Yat-sen was first published in The Ta Kung Pao and later republished under the title Doctor Wang Zhikang.Based on newly discovered manuscripts of Sun Yat-sen and the final copy of Doctor Wang Zhikang,following the research path of textual genesis,it can be found that the textual evolution from Sun Yat-sen to Doctor Wang Zhikang not only includes modifications that adhere to the inherent laws of dramatic art,demonstrating Xiong Foxi's creative enthusiasm and artistic ingenuity,but also involves adaptive adjustments in response to political censorship pressure,striving to preserve the artistic core of the play to a certain extent.The transformation from"enthusiasm"to"adaptability"is the result of the interplay between artistic autonomy and political heteronomy at the"pre-text"level.It not only vividly interprets the dynamic mechanism of"writing"and"rewriting"from the perspective of textual genesis but also provides a typical case for understanding the interaction between the creative subject and the will of power in the history of modern Chinese drama.
出处
《南京艺术学院学报(音乐与表演版)》
北大核心
2026年第2期148-153,I0003,共7页
JOURNAL OF NANJING UNIVERSITY OF THE ARTS:Music & Performance
基金
国家社科基金重大项目“中国近现代话剧文献补遗与集成研究”(项目编号:22&ZD270)阶段性成果。
