【作者】 张慧敏；

【导师】 张进；

【作者基本信息】 兰州大学 ， 中国现当代文学， 2012， 博士

【摘要】 中国现代戏剧研究虽然在史料的整理、史实的梳理以及剧作家和剧作品的研究上已经取得了不菲的成就,但由日常生活批判理论所激发的深入而犀利的理论思考和文本分析却乏善可陈。因此,本文并不旨在对20世纪中国现代戏剧进行“史”的研究或整体性特征的研究,而是在现代性这一大的文化背景中,通过引入日常生活批判理论的视野,进而在具体的历史语境中去观照中国现代戏剧与日常生活之间所呈现出的辩证性想像关系,即一方面揭示出戏剧人物和剧作家在接受已成为日常生活重要内容的现代性事物和价值的过程,另一方面指出这一过程同时也是中国现代化进程的重要组成部分,戏剧中呈现的日常生活建构了人们对现实日常生活的想像与认同。再者,日常生活本身也是一个具有辩证意义的存在,一方面,日常生活恰如众多的批判者所言,是沉闷无聊、琐碎平庸、单调乏味的；另一方面,除了具有压抑性的一面,日常生活也存在颠覆性的一面。在文学所有的文类中,戏剧与普罗大众的日常生活又最为接近,而且中国现代戏剧更是在现代性的背景下直接诞生于城市中,并首先开始对现代日常生活予以表现。此后,它和日常生活的关系在20世纪中国“启蒙”和“革命”两种强大的话语下表现得爱恨交织、若即若离,并诞生了很多现代戏剧的经典。对这一关系的探讨是必要的,同时也是有价值、有意义的。本文以“五四”时期、左翼时期、延安时期、“十七年”时期、文革时期、新时期等重要的历史节点为参照,以各个时期中具有代表性的戏剧创作为研究对象,以日常生活理论中的“横向超越”和“纵向超越”两条线索为方法依据来展开论述。全文分为六个部分：绪论部分主要论证本文选题的必要性与可能性。首先指出为何选择日常生活批判理论作为方法论依据,为何选择中国现代戏剧作为研究对象,以及阐明二者之间关系的理论基点；其次是概述本文选题的国内外研究现状,指出本文选题的理论出发点和研究基础；最后说明本文写作的理论与实践意义,以及全文的逻辑结构。第二部分即论文第一章为全文的理论基础部分,即提出日常生活何以成为一个理论问题。其中又分为三个小部分：首先从总体上指出日常生活作为现代性问题的危机与症候,从现代性的既成事实、启蒙话语的扩张以及后现代性对现代性的反思等角度梳理西方各思想家如席勒、黑格尔、海德格尔、韦伯、西美尔、列斐伏尔等的理论观点；其次尝试着提出一个对日常生活批判理论新的研究思路,即日常生活中的“横向超越”与“纵向超越”,并结合诸思想家的理论观点论证其可能性；再次,带着日常生活批判理论的视野进入中国语境,20世纪的中国无疑也经历着现代性的巨变与日常生活的深刻转型,因此可以通过对几个重要的历史节点的考察去分析20世纪中国文学对日常生活的想像及其嬗变,如“五四”作家对日常生活问题域的开启、左翼文人对日常生活的激进想像、建国之后政治对日常生活的殖民化以及新时期以来对日常生活的沉迷状态等。第三部分即论文的第二章开始将日常生活批判理论引入对中国现代戏剧的研究。其中分为三个部分,首先是对早期中国现代话剧创作之文化身份的考察,通过分析城市化过程中的物质性成分以及形成的对日常生活的表征,指出中国现代话剧在其诞生初期就天然地带有的一种文化品格,即“生于城市,表现日常”；其次是对从左翼到“文革”这一大段历史时期中由于政治权力的规约所形成的反日常生活的艺术实践,对日常生活范畴的政治化、阶级化和革命化,以及对文艺服从于政治的强调,是这一时期戏剧实践的典型特征；最后是对新时期以来在城市日常生活再度崛起的历史条件下,无论是80年代远离日常、代表精英立场的现代派探索剧,还是90年代贴近日常、代表大众立场的流行文化现象,虽然仍有相当剧作家保持着高度的创作热情,但都不可避免地将中国现代戏剧导向了衰微的命运。第四部分和第五部分是论文的主体,尝试对现代戏剧进行具体的文本细读与分析的批评实践。第三章在日常生活批判之“纵向超越”的线索之内进行考察,分别选取了“五四”时期以胡适《终身大事》为代表的“娜拉剧”、30年代曹禺的《日出》、“十七年”时期以丛深《千万不要忘记》为代表的社会主义教育剧、“文革”时期以《白毛女》为代表的革命样板戏等戏剧文本进行细致的分析与解读。在这些文本实践中,剧作家或剧中主角面对单调乏味、机械重复的现代日常生活总是试图在日常生活之外或之上寻求一个想像的或审美的乌托邦,并在其间确立一种高下、优劣的等级关系,低级的日常生活是需要被一个高级的理念所不断克服或超越；第四章则是在日常生活批判之“横向超越”的线索之内进行考察,分别选取了“五四”时期以丁西林《一只马蜂》为代表的喜剧、30年代夏衍的《上海屋檐下》与“十七年”时期老舍的《茶馆》,在这些文本实践中不同于“纵向超越”的思路,剧作家或剧中的角色主要不是在日常生活之上寻找诸如政治、审美或艺术性的超越方式,而是努力发掘日常生活本身的积极面,力图在其内部寻找审美超越或抵抗的可能性,如丁西林的言说的艺术、上海弄堂空间中普通市民的抵抗艺术以及老舍在《茶馆》中所流露出的强烈的怀旧情绪等。余论是全文的第六部分,最后再从宏观的层面上探究现代戏剧中的日常生活体验及其对现代性的建构。一方面是20世纪以来科学话语与物质话语的扩张,导致现代日常生活的单调乏味；另一方面又由于中国特殊的历史语境,造成很长一段时间中革命现代性对日常生活中大众对物质欲望的压抑。同时中国现代戏剧自从诞生之日起,就不间断地朝向着现代民族国家之想像与建构的目标而努力。这些都是现代戏剧之现代性的重要维度。更多还原

【Abstract】 Although researches of Chinese modern drama have made great achievement on the collecting of historical documents, the combing of historical facts and the study of playwrights and their works, the deep and sharp theoretical thinking and text analysis caused by everyday life critical theory was rarely put forward. Therefore, this study does not aim at studying the historical facts of the20th century Chinese modern drama and its integrity, but analyzing the dialectical imaginative relationship shown in Chinese modern drama and everyday life under concrete historical context and the great background of modernity from the aspect of everyday life critical theory. On the one hand, this study reveals the process of accepting modernity as an important part of everyday life and admitting its value by the roles in the drama and playwrights; on the other hand, it indicates that this process is also an important part in China’s modernization process, and the everyday life presented in the drama constructs people’s imagination and identity to the real everyday life. Moreover, the everyday life itself is an existence which is full of dialectical meaning because of its trivialness seen from some critics on the one hand and its subversive side on the other hand.In all the literature genres, drama has the closest relationship with everyday life. This statement can be fully proved by Chinese modern drama which was born in city directly in the background of modernity and firstly played the modern everyday life out. Since then, the relationship between Chinese drama and everyday life was elaborated like love hate intertwined and brinkmanship under two powerful words of "enlightenment" and "revolution" in the20th Century, and many modern classic dramas were born in that period. Therefore, it is necessary, meaningful and valuable to discuss this relationship. This article aims at studying the representative plays in different specific historical period:"May4th Movement" period, left-wing period, Yanan period,"17years’Age", the Great Cultural Revolution and the time after that, and develops its discussion under the two clues of "horizontal transcendence" and "vertical transcendence" from everyday life theory. The full article is divided into six parts:The part of introduction mainly argues the necessity and possibility of the selected title. Firstly, it tells the reasons why the everyday life critical theory was chosen as the basis of methodology and why the Chinese drama was chosen as research object, and expounds the theoretical basis of their interrelationship. Secondly, it summarizes the research condition on the selected subject at home and abroad, points out the theoretical starting point and research basis. Finally, it illustrates the theoretical and practical meaning of this study and the logical structure of the full text.The second part (Chapter One) is the theoretical background which puts forward the reason why everyday life can be seen as a theoretical issue. This part is subdivided into three small parts: firstly, it points out the crisis and symptoms of everyday life as a problem of modernity from the overall, and combs the theoretical viewpoints of some western thinkers like Angle Schiller, Hegel, Martin Heidegger, Webb, Simmel, Henry Lefebvre, etc. from the aspects of the accomplished facts of modernity, the expansion of enlightenment words and the reflection to modernity from post-modernity. Secondly, it tries to propose a new research idea to study everyday life critical theory, that is, the "horizontal transcendence" and "vertical transcendence" of everyday life, and demonstrates its possibility with the theory of many thinkers. Thirdly, seen the Chinese context from the aspect of everyday life critical theory, in the20th Century China was also experiencing the great changes of modernity and the profound transformation of everyday life. So it is possible to investigate the imagination and change to everyday life of the20th Century’s Chinese literature from some certain important historical nodes. For instance, the start of everyday life domain by the "May4th Movement" writers, the radical imagination of everyday life from left-wing scholars, the colonization of everyday life by politics after the founding of new China, the addicted state to everyday life after the Great Cultural Revolution, etc.The third part (Chapter Two) begins to bring the everyday life critical theory into the study of Chinese modern drama. It is subdivided into three parts. First of all, it is the investigation of the cultural identity of early Chinese modern drama. Through analyzing the materiality during the process of urbanization and its characterization to everyday life, the author points out that Chinese modern drama has owned a natural cultural characteristic in the early years since it was born, namely "it is born in the city and it represents everyday life". Next, the emphasis on the art practice of anti-everyday, the politicization, deeper division in class and revolutionization, and the subordination from art to politics caused by the constriction of political power during the long period between left-wing and the Great Cultural Revolution was the typical characteristic of drama practice in that period. In the last part, the author indicates that after the Great Cultural Revolution, under the historical situation of city everyday life’s reemerge, whether the modernist explore play that is far away from everyday life representing the position of elites in the1980s or the popular culture phenomenon that is close to everyday life representing the position of the public in the1990s, although there were still considerable number of playwrights keeping high creative enthusiasm, they could not stop Chinese drama from being driven into the fate of declination.The fourth and the fifth part are the main body of the paper which intend to interpret and analyze some modern plays in detail. Chapter Three investigates this plays from the "vertical transcendence" of everyday life critical theory, chooses the "Nora play" represented by Hu Shih’s "The Juvenizer" in the period of "May4th Movement", Tsao Yu’s "Sunrise" in the1930s, the socialist education play represented by Cong Shen’s "Never Forget" in "17years’Age" and the revolutionary model opera represented by "The White Haired Girl" in the period of the Great Cultural Revolution respectively as analyzing objects. In these plays, facing the boring and mechanical repeated everyday life, the playwrights or the protagonists always try to search an imaginary or aesthetic utopia beyond everyday life, and establish a kind of hierarchical relationship:the lower-level everyday life is continuously overcome and went beyond by higher-level concept. Chapter Four investigates plays within the clue of "horizontal transcendence". It selects the comedy in the period of "May4th Movement" represented by Ding Xilin’s "A Hornet", Xia Yan’s "Under the Roofs of Shanghai" in the1930s and Lao She’s "Teahouse" in the "17years’age" as objects. Unlike the idea of "vertical transcendence", the playwrights and protagonists do not search political, aesthetic or artistic transcendence out of everyday life, but make effort to discover the positive side of everyday life itself, trying to find the possibility of aesthetic transcendence of resistance in it. Like Ding Xilin’s narrative art, common people’s resistant art in Shanghai lanes and the strong nostalgia emotion shown in "Teahouse", etc.The sixth part is the remaining discussion which explores the everyday life experience in modern drama and its construction of modernity from the macro level. On the one hand, the expansion of scientific words and material words lead to the tediousness of everyday life since the20th Century; on the other hand, Chinese special historical context caused a long-time suppression to people’s material desires from revolutionary modernity in everyday life. Meanwhile, Chinese modern drama has been continuously working towards the imagination and construction of modern national country since its birth. These are all important dimensions to measure the modernity of modern drama.更多还原