【作者】 刘涛；

【导师】 邹元江；

【作者基本信息】 武汉大学 ， 戏剧戏曲学， 2005， 硕士

【摘要】 著名的现代戏剧家萧伯纳被介绍到中国已经有近百年的历史,中国学界对他进行了大量的研究。由于受到社会政治等外在因素的影响,20世纪的萧伯纳研究在不同的历史时期呈现出不尽相同的特点,同时也暴露出诸多问题。“五·四”时期,萧伯纳与易卜生一起被当作具有社会批判精神的思想家和写作“社会问题剧”的模范作家而被接受。但是,这种单一的接受视角也在一定程度上束缚了他们对萧伯纳戏剧艺术手法的理解与剖析。在1933年萧伯纳访问中国前后,新闻界与学术界掀起了介绍和研究萧伯纳的热潮,这一时期学界争论的焦点集中在萧伯纳带有社会主义倾向的思想及其独特的“创造进化论”,而对于其剧作则多是泛泛而谈,缺乏深入地探讨。1956年前后,由于意识形态因素的介入,萧伯纳研究领域表面上呈现出一幅欣欣向荣的景象,但实际上并没有多大的学术进展。萧伯纳被定位为一位同情社会主义的费边主义者,其剧作中的社会批判意识被更强烈地加以夸大,从而更加限囿了学者们的研究视野。“文革”之后,随着文学研究领域中的意识形态色彩被日趋淡化,萧伯纳研究也逐步走向多元化,学者们开始越来越多的从艺术层面上探讨萧伯纳的戏剧成就,取得了比较大的进展。 回顾20世纪国内的萧伯纳研究,我们发现其中存在着诸多值得深思的问题,笔者对其中两个主要问题进行了较为深入的探讨。第一,萧伯纳被不加辨别地称为“(批判)现实主义作家”,这限制了学者们的研究视角,忽视了其剧作多方面的艺术成就。第二,萧伯纳的功利主义的戏剧理论被不加反思地加以肯定,这也误导了学者们的研究思路。萧伯纳的戏剧理论事实上存在明显的缺陷,它违背了戏剧艺术自身的规定性。 只有从根本上以一种艺术的标准和开放的眼光来重新解读萧伯纳及其剧作,才能摘掉长期以来笼罩在萧伯纳头上的“思想家”或“批判现实主义剧作家”的面纱,从而真正返回“作为艺术家的萧伯纳”。更多还原

【Abstract】 George Bernard Shaw, a well-known modern dramatist, has been introduced by Chinese intellectuals for nearly one-hundred year. Chinese academic circle has made amount of researches on him. Affected strongly by several objective factors such as social politics, the researches on Bernard Shaw had revealed different characteristics in different historic period and it also had exposed some problems. During the period of the May 4th Movement of 1919 in China, Bernard Shaw ,as well as Henrik Ibsen, were accepted as thinkers of social criticism and model playwrights writing "social problem drama". But this single visual angle shackled the understanding and analysis about Shaw’s artistic skills of dramas. Shaw’s visit to China in 1933 drew much attention of the press circle and the academic circle. However, the points at issue about Bernard Shaw focused on his Fabianism thought and his special "creative evolution" and ignored his plays. It seemed that he was a political critic instead of a dramatist.Around about 1956, controlled briefly by social ideology, the research on Bernard Shaw presented a scene of prosperity. But actually it didn’t make much academic advancement. He was interpreted as a Fabianist who sympathized socialism and the social criticism side of his work was strongly exaggerated, which confined the research horizon of the scholars. After "the Great Cultural Revolution (1966-1977) in China", with the gradually fading of the color of social ideology in the field of literature research, the research on Bernard Shaw became more pluralistic. Scholars has made a rather big progress in the research of the Shaw’s achievements of drama from the prospect of art.In retrospect, the research on Bernard Shaw in our nation during the 20th century, we found a lot of problems calling for more deep thinking. I want to make a discourse on these two major problems. Firstly, Bernard Shaw was generally called "the writer of (critical) realism." It confined the visual angles of scholars andhis artistic achievements on many aspects has been neglected. Secondly, the acknowledgement of his dramatic theory of utilitarianism, which is confirmed by many scholars without real reflection, misled the scholar’s train of thought. In fact, his dramatic theory has some obvious flaws which abbey the quality of definition of dramatic art itself.In order to unveil long-lasting recognition of him as a "thinker" or a "playwright of critical realism" and regard him as a "real artist", we should analyze George Bernard Shaw and his work by using artistic standard and opening our mind.更多还原