中华民族戏剧与民族戏剧学的未来

中华各民族戏剧是中国传统文化的重要组成部分,是中华民族精神文化真实形象的艺术写照。中国少数民族在缔造华夏乐舞戏剧文化、中外戏剧文学与表演艺术交流的过程中,曾起到了相当重要的作用,建立过非常卓越的功勋。对中国少数民族戏剧的研究,不能单纯套用西方戏剧与中国汉族戏曲研究固定模式,而应该以先进的宏观与微观相结合的文化人类学与民族学的实证考察,即理论联系实际的田野调查法,对中华民族历史文化背景、研究意义与学术价值进行较为详细的实证以及全面、系统、科学、务实的研究。从民族文化、戏剧艺术的视角,以翔实可考的文献资料与理论知识,对中华文明史作出科学描述和总结。以国内外民族音乐、舞蹈、文学、戏剧的丰富资料、先进的科研方法,来佐证中国少数民族戏剧艺术在世界戏剧文化体系中所具有的学术地位与价值。     

“校园戏剧”演出与文学作品选课程实践教学

20、21世纪初,中国大学两次流行“校园戏剧”,其文化宗旨和历史影响不同,前者宣扬西方先进文化思想,后者注重我国经典文学作品的重温和弘扬,各具文化价值.在当前因学生厌学和教学方法陈旧等原因导致的中文专业文学作品鉴赏课程地位日趋下降、教学效果不佳的形势下,“校园戏剧”以其独特的视听组合形式有助于调动学生学习经典文学作品兴趣,能够取得课堂教学无法达到的效果,是探索中文专业课程实践教学的有效途径.     

论明清传奇戏曲的特殊文体“四节体”

明清传奇戏曲特殊文体的“四节体”,打破了一人一事的传统模式,将传奇情节分为若干节段,藉以完成传奇戏曲主题思想的阐述。这一特殊文体现象的背后,隐含着时代推动与文体观念的变革,具体体现在“寓言体”创作方式的改变、传奇杂剧文体之间的破体现象、传奇戏曲叙事模式的突破等。“四节体”的出现具有文体突破革新意义,丰富了传奇戏曲文体的风貌,但同时又是文人的自我游戏之作,体现出案头之曲的创作趋向。     

简论区域文学的全国代表性———以陪都重庆戏剧运动为证简

以中国现代文学的区域发展为基点,以陪都重庆戏剧运动为例,通过主导性影响与主流性地位这两个向度的探讨,确证陪都重庆文学运动在抗战时期体现了区域文学的全国代表性。     

论元代戏剧批评的观念转捩与理论创获

元代戏剧批评是中国古代戏剧学不可分割的组成部分 ,它的观念从戏剧范畴著录、形态编纂、本体认识、功能感知、作家鉴定、优伶推介诸方面都发生了全新转捩 ,不仅初步提出戏剧创作、表演与戏剧沿革、嬗变的重要范畴 ,而且着手阐释戏剧基本原理 ,构建戏剧理论体系 ,为中国古代戏剧学的发展壮大奠定了无与伦比的坚实基础。     

试析元杂剧历史题材剧兴盛原因

分别从元代统治者对杂剧的干预、元代社会娱乐好尚、杂剧演出的商业化、元杂剧作家地位出路才情等社会的角度,观众对历史题材的欣赏偏爱的观众接受角度,以及历史题材本身的特点、历史与戏剧内在的相似性等文本的角度,具体分析了元杂剧历史剧兴盛的原因。     

高尔斯华绥戏剧中国百年传播之考察与分析

英国作家、戏剧家约翰·高尔斯华绥的戏剧作品在中国的传播始于新文化运动之后,其作品的译介及研究深受中国社会时代语境的影响。民国时期的高尔斯华绥戏剧传播以作品翻译、评论等宏观方面的研究为主,高尔斯华绥对资本主义社会阶级斗争和社会不公问题的揭露成为主要关注点。新中国建立后,高尔斯华绥戏剧作品迅速受到冷落,学界对其作品的态度也发生了很大的转变。1978年至今中国掀起了外国戏剧研究热潮,但高氏的剧作继续遇冷,翻译和研究者寥寥。     

The Ministry of Culture in Syria: history,production and restriction of official culture

The official aspect of Syrian culture has been for long shaped and controlled by wizarat al-thaqafa, or the Ministry of Culture in a country whose government for long prided itself as culturally progressive. The history of this important government department reflects the political developments of the country, and the cultural activities and materials it produces deeply influence the intellectual development of Syrian society. I argue in this article that even though the Ministry is part of the Syrian government and regime, it attempts to be a more independent and democratic enterprise that produces a great deal of cultural resources and allows artistic and intellectual spaces for the Syrian public. Many Syrian voices of dissent were provoked by the performance of the Ministry which is often viewed as an extension of the leading Ba’ath Party and its outdated literature and ideologies. This Ministry has impacted cultural movements within Syria, regardless of being sponsored by the regime, which has attempted to control public and private media outlets and the educational system to pass its discourse to the public. This paper shows that the Ministry of Culture has successfully escaped serving as a mouthpiece for the party and how the ministry’s role in Syrian cultural development goes beyond offering legitimation to the regime in exchange for institutional support. It also aims to demonstrate how the way we view and understand cultural outputs in Syria enables us to comprehend the complexities of the country.     

新中国莫里哀戏剧研究60年

在中国,莫里哀是最早被引进和最受欢迎的西方古典戏剧家之一,但是真正形成对他的研究高潮还是在1978年之后的改革开放年代。此前的研究多半是以历史的社会学的批评方法,着重研究莫里哀作品的社会历史价值,强调其战斗性。1978年以来,中国的莫里哀研究不仅成果超前,而且逐步深入,论者对有关的一些重要问题,诸如莫里哀是反封建的战士还是表现路易十四时代主流意识的戏剧家?莫里哀是古典主义作家还是现实主义作家?如何看待莫里哀喜剧中的悲剧因素?如何认识莫里哀作品中的所谓"扁形人物"?发表了不同的看法。但是研究方法单一,研究力度不够,研究对象过于集中,以至少有突破性的成果。近年来出现研究方法多元化的趋势,有利于研究的进一步发展。     

Havelock Ellis's Literary Criticism,Canon Formation,and the Heterosexual Shakespeare

Famous as the author of an early full-length scientific study of sexual inversion or homosexuality, English sexologist Havelock Ellis was also a literary critic responsible for initiating publication of the famous Mermaid Series of “The Best of Plays of the Old Dramatists” in the late-nineteenth century. Personally editing the first volume of plays by Christopher Marlowe and a later collection by tragedian John Ford, Ellis associated these playwrights here and in his scientific work, Sexual Inversion, with ideas about normative and so-called abnormal sexualities at the start of the twentieth century. Ellis, thus, helped give expression to a literary canon of early English dramatists in which modern, anachronistic ideas about sexual subjectivity play a part. While this article does not claim that Ellis was the necessary source for later criticism, it shows how, over the whole of the twentieth century, Shakespeare's priority in the literary canon came to be posited at least in part on his apparent sexual normality in contrast with a supposedly homosexual Christopher Marlowe and other playwrights such as Ford or Francis Beaumont and John Fletcher associated with varying degrees of sexual difference.