李健吾戏剧创作与法国文学

时间：2023-04-28 09:04:17 社会文化论文我要投稿

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李健吾戏剧创作与法国文学

Li Jianwu's Drama Creation and French Literature

【摘要】当李健吾对二三十年代的中国现实主流游离不定而找不到实际归宿之时,1931年,他靠着父执辈和亲朋好友的帮忙得以成功出国。在法国留学的两年时间里,一方面,他日夜研读福楼拜、莫里哀、司汤达等人的作品,外国文艺思潮的影响使他超越了普罗文学的视界;另一方面,远离了中国当时的现实环境,他不必为趋当时之势而费力追赶当时文学潮流,使他有更多时间去实践他自己的创作技巧与风格。在他留法期间完成的最重要的一个三幕剧《村长之家》,这个剧本与李健吾以前的剧作明显不同,故事情节由简单变为复杂,人物性格由单一变为多重,剧情发生的背景也不再是城市,而是“华北乡间某村镇上”,实际上就是以他的故乡安邑西曲马村为蓝本。因此,《村长之家》被公认为是李健吾留法时期最重要的剧本,是他戏剧创作上的一个分水岭。1934年作者创作了喜剧精灵《这不过是春天》,这不仅是他的传世之作,而且也是他平生所作的第一部喜剧作品。剧作以相对轻捷的方式表现了自我和人性复归的主题,随后他一发不可收拾。前后共创作了40多部剧作及改编剧,为中国现代话剧的发展作出了杰出的贡献。那究竟是何原因促使作者出现这种转向,使其戏剧前后创作发生如此明显的不同呢?虽说内因也即李健吾本人的个性成因是促使其创作发生变化的根本原因,但外因也起到了必不可缺的作用。我们只当李健吾对二三十年代的中国现实主流游离不定而找不到实际归宿之时,1931年,他靠着父执辈和亲朋好友的帮忙得以成功出国。在法国留学的两年时间里,一方面,他日夜研读福楼拜、莫里哀、司汤达等人的作品,外国文艺思潮的影响使他超越了普罗文学的视界;另一方面,远离了中国当时的现实环境,他不必为趋当时之势而费力追赶当时文学潮流,使他有更多时间去实践他自己的创作技巧与风格。在他留法期间完成的最重要的一个三幕剧《村长之家》,这个剧本与李健吾以前的剧作明显不同,故事情节由简单变为复杂,人物性格由单一变为多重,剧情发生的背景也不再是城市,而是“华北乡间某村镇上”,实际上就是以他的故乡安邑西曲马村为蓝本。因此,《村长之家

【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'.

【关键词】李健吾戏剧; 法国文学; 影响; 接受

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

李健吾戏剧创作与法国文学

中文摘要 3-5

英文摘要 5-6

引言 8-13

第一章生命绵延的心理影响 13-28

第一节美在绵延 13-17

第二节永远的童年记忆 17-28

第二章艺术情感的观念召唤 28-41

第一节 “化我”的情感追求 30-37

第二节人性美的热情赞歌 37-41