【作者】 刘丽；

【导师】 胡星亮；

【作者基本信息】 南京大学 ， 中国语言文学/戏剧戏曲学， 2014， 博士

【摘要】 20世纪的台湾剧场,样貌复杂多变,历经日据时代的传入(1910——1945)、光复初期的发展(1945——1949)、反共抗俄时期的单调与贫瘠(1950——1965)、新戏剧时期的西潮与冲激(1965—1980)、小剧场运动时期的兼容与实验(1980—1990)、多元现代戏剧时期的前卫与探索(1990—今)六个阶段,在多元文化的碰撞、喧哗中,“人的失魂”的问题尖锐,率先冲决这一黑暗、朦胧地带的,是姚一苇。在“反共抗俄”剧逐渐退潮之际登上戏剧舞台的姚一苇,以他三十年(1963——1993)十四部的戏剧创作,拨开政治、物欲迷障,专注于人性、人情,在压抑、沉闷的生命困境中反抗绝望,表达对自由精神的追求。自姚一苇开始,台湾戏剧才从“工具论”中走出来,真正触及到人的灵魂,引导台湾现代剧场走向新生。他是台湾剧坛“暗夜中的掌灯者”,亦是台湾现代剧场的启蒙导师。在台湾剧场从传统写实主义向现代主义的转型过程中,身为“现代主义迷”的姚一苇,起着举足轻重的作用。本文包括七个部分。引言部分,厘清20世纪台湾剧场多元混杂、融合的文化语境,分析众声喧哗带来的“人的问题”,梳理姚剧研究现状,明确本论文的选题意义、研究思路和理论创新。第一章,自由精神的追求。基于其创作个性的发展变化及其戏剧成就的高低,明确其创作分期,剖析其在政治专制、商业控制和后现代反文学的众声喧哗中,以理性启蒙精神烛照人生,坚持个体创作的独立性,开创了台湾现代戏剧界的“人学”传统,张扬人的主体意识,并糅入深刻的怀疑精神和文化批判意识,表达一种自觉追求自由的现代人文精神。第二章,人的发现与理性启蒙。启蒙精神是其戏剧创作的价值立场,也是整篇论文展开论述的基石。姚一苇打破传统戏剧人物好/坏/、善/恶、美/丑的二元对立模式,认为人是矛盾对立的辩证统一体、理性与非理性的结合体以及动态发展的独立存在物;在彰显人的主体意识、体现人的尊严中追寻生命的奥义;生之自由与死之自由,是人生终极价值的体现。第三章,生命存在的意义追寻。在姚剧中,人是独立、有限的存在,在生存困境和精神困境的双重夹击之下,背负着苦闷、焦虑、迷惘的现代人,企图在现实与理想之间做出恰切的调整,寻找失去的自我,摸索生命的方向,在从物质到精神、从本真到诗意、从有限到无限的转变过程中,实现生命存在的精神超越,探寻生命存在的价值和意义。第四章,灵魂扭曲与人性批判。精神危机始终困扰着人的存在,传统、世俗、政治对人性的扭曲造就人与自我、人与他人、人与自然、人与社会之间的关系冷漠且疏离,人格走向分裂,自我走向沉沦,由此导致人文精神的失落。姚一苇批判了这一畸形的社会现象,意在建构一种健康、自然的人性。第五章,民族文化心理的探索。姚一苇戏剧创作的核心表达是“人”,这个“人”不是空洞、苍白的抽象化符号,而是扎根于中国强大民族文化根系之上的饱满、坚实、具体的书写,在“五四”新文化运动和鲁迅思想的影响下,姚一苇试图把被传统文化、习俗、道德遮蔽的民族文化心理折射出来,批判奴性、看客、瞒和骗等国民劣根性,重铸坚守气节、敢做、敢当的民族魂,从而丰富对一个人和一个民族、国家的“整体”认识。结语部分,明确姚一苇及其“人的戏剧”在台湾戏剧史上的地位。姚一苇坚持戏剧创作的独立性,致力于刻划出个体独特的灵魂,批判扭曲、丑陋、虚伪的人性及国民劣根性,建构健康、优美、自然的人性,弘扬民族正气,呼唤新型的国民素质。为丰富人性主题,大胆革新形式,创造了新的“中国现代戏剧”范式,这种变革反映和标志着台湾社会现代人文精神的张扬。强烈的现代意识,浓郁的民族精神,以及宏大的世界视野,使他的作品超越时代和地域,通向过去、现在与未来,成为台湾现代戏剧史上划时代的里程碑,在台湾戏剧现代化的进程中,姚一苇及其戏剧具有重要的戏剧史意义。更多还原

【Abstract】 Taiwan theater underwent six stages in the 20th century:incubation in the Japanese occupation era(1910-1945),development in the early resumption period(1945-1949),monotony and barrenness in the anti-Communism-and-Russia period(1950-1965),the Western influence and impact in the new theatre period(1965-1980),compatibility and experimentalism in the Small Theater period(1980-1990),and avant-garde and exploration in the modern theater period(1990-present).In the conflict and chaos of multiculturalism when the "loss of human souls" became an acute problem,it is Yao Yiwei who first broke through the dark and hazy zone.Yao Yiwei began his theatre career when the anti-Communism-and-Russia drama began to decline.He produced fourteen plays in three decades(1963-1993),trying to break through the political and materialist maze,focusing on human nature and human emotions,combating against despair in the depression and dullness of life,and expressing his pursuit of the spirit of freedom.Taiwan theatre began to walk out of pragmatism,touch upon the human souls and was directed to a new life ever since Yao appeared as a dramatist.He is "the candle-lighter in the dark night" and pioneer of modern Taiwan theatre.As a dedicated advocate of modernism,Yao played a significant role In Taiwan theatre’s transformation from traditional realism to modernism.The paper consists of seven chapters.The introduction chapter presents the academic significance of the research topic,the research framework and the theoretical innovation after an endeavor to clarify the diverse and integrative cultural context of Taiwan theatre in the 20th century,analyze the“issue of human beings"stemmed from the hubbub and review the previous research on Yao Yiwei’s plays.Chapter Ⅰ is the Pursuit of Free Spirit.Specifies different stages of Yao’s creation,based on the change of his creative characteristics and his theatrical achievements.In the hubbub of political tyranny,commercial control and anti-literary postmodernism,Yao Yiwei insisted on independent production of personal characteristics,bearing rationalism and enlightenment in mind.He created the tradition of human-orientation in modern Taiwan theatre,aiming to promote the consciousness of subjectivity.With his skepticism and consciousness of cultural criticism,his work displays a conscious pursuit of freedom.Chapter Ⅱ is titled the Rediscovery of human beings and rational enlightenment.The spirit of enlightenment underlies all his theatrical productions.It is also what the paper is based on.Yao broke the dichotomy of theatrical characters between good and bad,kind and evil and beautiful and ugly.He believed that human beings are the combination of rationalism and non-rationalism and an independent being with dynamic development,with the inherent nature of being contradictory.Human beings pursue the meaning of life when display its subjectivity and dignity.The freedom of life and death is the reflection of life’s ultimate value.Chapter Ⅲ is the Pursuit of the Meaning of Life and Being.In Yao’s plays,human beings are independent and limited.In the dual pressure of the dilemma of living and spirit,contemporary people,depressed,frustrated and confused,attempted to adjust themselves between reality and ideal.They try to find the lost self and feel the direction of life so that they can realize the spiritual transcendence of life and being and explore the value and significance of life and being in the transformation from matter to spirit,from the real to the poetic and from the finite to the infinite.Chapter Ⅳ is the Distortion of Human Nature and its Criticism.Spiritual crisis has plagued human existence all the time.The distortion of human nature by tradition,secular world,and politics led to the indifference and alienation between man and its self,man and others,man and nature,and man and the society.Thus personality is split,self goes toward destruction,and finally the loss of human spirit.Yao criticized this abnormal social phenomenon and intended to construct a healthy and natural human nature.Chapter Ⅴ is the Exploration of National and Cultural Psychology.Yao’s theatrical creation focuses on“human beings"."Human beings" here is not shallow and pale abstract symbols,but solid and concrete writing rooted in strong national and cultural traditions.Influenced by the "May-fourth Movement" and Lu Xun’s thought,Yao tried to reflect the national and cultural psychology which has been obscured by traditional culture,customs and morality.He criticized the national characteristics of servility,spectatorship,evasion and deception.He endeavored to recast the national spirit of adherence to integrity,having the courage to take action and should the responsibility so as to enrich the "holistic" understanding of a people and a nation.In the conclusion chapter,it makes clear the status of Yao Yiwei and his "Plays of Human beings" in the history of Taiwan theatre.Yao insists on the independence of theatrical creation.He is dedicated to depicting the uniqueness of individual souls,criticizing the distortion,ugliness and hypocrisy of the human nature,and the national characteristics of servility,and constructing a human nature which is healthy,beautiful and natural carrying forward the national spirit,calling for a new national quality.To enrich the theme on humanity,he also dares to make formal inovotion and creates the new paradigm of "modern Chinese theatre",which reflects and marks the promotion of modem humanistic spitit in Taiwan.Teeming with stong modern consciousness,distinct national spirit,and a grand world-view,his plays transcend the time and the milieu,bridging the past,the present and the future,and becoming the epoch-making milestone in the history of modem Taiwan theatre.Yao Viwei and his"Plays of Human beings" have a significant historical role in the process of the modernization of Taiwan theatre.更多还原