李健吾戲劇創(chuàng)作與法國文學(xué)

時間：2023-04-28 09:04:17 社會文化論文我要投稿

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Li Jianwu's Drama Creation and French Literature

【摘要】當(dāng)李健吾對二三十年代的中國現(xiàn)實主流游離不定而找不到實際歸宿之時,1931年,他靠著父執(zhí)輩和親朋好友的幫忙得以成功出國。在法國留學(xué)的兩年時間里,一方面,他日夜研讀福樓拜、莫里哀、司湯達等人的作品,外國文藝思潮的影響使他超越了普羅文學(xué)的視界;另一方面,遠離了中國當(dāng)時的現(xiàn)實環(huán)境,他不必為趨當(dāng)時之勢而費力追趕當(dāng)時文學(xué)潮流,使他有更多時間去實踐他自己的創(chuàng)作技巧與風(fēng)格。在他留法期間完成的最重要的一個三幕劇《村長之家》,這個劇本與李健吾以前的劇作明顯不同,故事情節(jié)由簡單變?yōu)閺?fù)雜,人物性格由單一變?yōu)槎嘀?劇情發(fā)生的背景也不再是城市,而是“華北鄉(xiāng)間某村鎮(zhèn)上”,實際上就是以他的故鄉(xiāng)安邑西曲馬村為藍本。因此,《村長之家》被公認為是李健吾留法時期最重要的劇本,是他戲劇創(chuàng)作上的一個分水嶺。1934年作者創(chuàng)作了喜劇精靈《這不過是春天》,這不僅是他的傳世之作,而且也是他平生所作的第一部喜劇作品。劇作以相對輕捷的方式表現(xiàn)了自我和人性復(fù)歸的主題,隨后他一發(fā)不可收拾。前后共創(chuàng)作了40多部劇作及改編劇,為中國現(xiàn)代話劇的發(fā)展作出了杰出的貢獻。那究竟是何原因促使作者出現(xiàn)這種轉(zhuǎn)向,使其戲劇前后創(chuàng)作發(fā)生如此明顯的不同呢?雖說內(nèi)因也即李健吾本人的個性成因是促使其創(chuàng)作發(fā)生變化的根本原因,但外因也起到了必不可缺的作用。我們只當(dāng)李健吾對二三十年代的中國現(xiàn)實主流游離不定而找不到實際歸宿之時,1931年,他靠著父執(zhí)輩和親朋好友的幫忙得以成功出國。在法國留學(xué)的兩年時間里,一方面,他日夜研讀福樓拜、莫里哀、司湯達等人的作品,外國文藝思潮的影響使他超越了普羅文學(xué)的視界;另一方面,遠離了中國當(dāng)時的現(xiàn)實環(huán)境,他不必為趨當(dāng)時之勢而費力追趕當(dāng)時文學(xué)潮流,使他有更多時間去實踐他自己的創(chuàng)作技巧與風(fēng)格。在他留法期間完成的最重要的一個三幕劇《村長之家》,這個劇本與李健吾以前的劇作明顯不同,故事情節(jié)由簡單變?yōu)閺?fù)雜,人物性格由單一變?yōu)槎嘀?劇情發(fā)生的背景也不再是城市,而是“華北鄉(xiāng)間某村鎮(zhèn)上”,實際上就是以他的故鄉(xiāng)安邑西曲馬村為藍本。因此,《村長之家

【Abstract】 When Li Jianwu missed the Chinese social reality orientation in 1931, his father's friends and relatives helped him go overseas successfully. In France, as a students for two years, on the one hand, he studied day and night in Flaubert, Mauriat and other works,the impact of foreign literatures and artistic thought made him go beyond the general view of Chinese literature; On the other hand, far from the reality battle of China's literature environment, he made great efforts to catch up with the trend of French literature and had more time to practice the skills of drama creation.In France,he completed the most important three-act play "The home of the village".The play was obviously different from his preceding works, the plot of the play was from the simple to complex, the characters were from the single to multiple, and the drama background happened in North Chinese village in the countryside other than in the city,so the works was recognized as the most important plays written in France . He wrote and recomposed over 40 plays including comedies and legendary plays throughout his life, and made great contributions to development of the modern Chinese dramas.But, you probably ask me what reason prompted Li Jianwu to make the change before and after in his plays creation, why the dramas are so different obviously? In my opinion, the internal factors caused the author to change, but the external factors also played an essential role. Only if the internal and external factors of the change were grasped, we could remark matter of factly the change of the drama creation before and after.The thesis to be discussed is about the absorption and innovation of the French literature by the modern Chinese writer and dramatist Li Jianwu's creation. In particular, it was the elicitation and influence of Bergson, Flaubert as well as Paul Mauriat, and how he accepted the effection and innovation. Li Jianwu's dramas, especially his maturity works created a different plays world, we take the method of the impact study and accept research in the field of comparative literature to pursue the influence of French literature. From my thesis, we can know how Li Jianwu's dramatic works absorbed the skills and styles of French literature; in the 1930s-1940s, how he made his choice between Chinese and french culture and at last formed his own unique charm and style-oriented literature. It was because Li Jianwu insorb French writer Henri·Bergson "beauty on continuous", Flaubert relentless pursuit and self-rethinking of arts and emotion, as well as custom humor comedy in the arts of Paul Mauria that made his dramas style great different from the contemporary authors'.

【關(guān)鍵詞】李健吾戲劇; 法國文學(xué); 影響; 接受

【Key words】 Li Jianwu’s drama; French literature; influence; reception

李健吾戲劇創(chuàng)作與法國文學(xué)

中文摘要 3-5

英文摘要 5-6

引言 8-13

第一章生命綿延的心理影響 13-28

第一節(jié) 美在綿延 13-17

第二節(jié) 永遠的童年記憶 17-28

第二章藝術(shù)情感的觀念召喚 28-41

第一節(jié) “化我”的情感追求 30-37

第二節(jié) 人性美的熱情贊歌 37-41