【作者】 张璐；

【导师】 吴俊；

【作者基本信息】 华东师范大学 ， 中国现当代文学， 2007， 硕士

【摘要】 从1933年至1942年的十年间，曹禺即为中国现代戏剧奉献了《雷雨》《日出》《原野》《北京人》四部堪称经典的杰作；而且每一部新作都在现实人生与人性的开掘及戏剧形式上有新的试验与创造——曹禺追求的是一种“大融合”的戏剧。曹禺戏剧对于中国现代话剧的意义不仅仅在于它标志着中国现代话剧的成熟，更重要的是它为中国现代话剧开拓了领域和视野，为中国现代话剧带来丰富的可能性。然而，也正是曹禺这样的一个大胆创新，兼容并蓄的风格，使他的剧作大大超越了时代的接受水平，从而在曹禺戏剧的接受过程中出现了矛盾的现象——曹禺既是拥有众多读者以及观众的作家，又是最不被理解的现在剧作家；人们空前热情的读着、演着、欣赏着、称赞着他的剧作，同时又在无情的误解、曲解着。本文将以《雷雨》、《日出》为考察对象，对这两部剧作近70年接受者的接受过程进行了梳理，通过接受者对《雷雨》主题的理解复归，《雷雨》序幕和尾声、《日出》第三幕的完整入戏，新时期影视界的全新改编，概括出接受者在接受过程中呈现的主要特点——经历了由误解、曲解到逐渐理解最后在理解的基础上重新赋予新的文化基因。当然存在于客观世界的任何现象都有它合理性，也有它出现的原因。本文目的不止在于对《雷雨》《日出》接受历程的描述与概括得出的结论，同时也希望找寻出是那些影响了接受者，以让接受者在接受流程中呈现出如此特点。本文将试图以接受美学期待视野以及接受者审美心理的群体特征等角度切入，将从创作者与创作(接受)环境，接受者与接受环境两节展开论述。对中国接受者的接受期待视野以及审美心理的群体特征做一个较为详细的论证。通过概括出中国接受者审美期待视阈的现实性、审美群体特征的完整性、介入性及对“大团圆”结局的钟爱的特点，以及中国接受者相异于西方接受者的悲悯观等方面来试图回答接受者在对曹禺戏剧接受过程中所呈现出矛盾现象的原因。更多还原

【Abstract】 From 1933 to 1942, during the ten years, Cao Yu devoted four masterpieces to modern Chinese drama stage that were entitled Thunder、 Sunrise、 Champaign and Peking Man. Furthermore, there were some new tentative and creations about the realistic human life、 human nature and the formation of drama in his each new works. It is because that Cao Yu was in pursuit of one kind of "greatly fusing" drama. Although Cao Yu’s drama was a symbol of the maturity of modern Chinese drama stage, the significance not only consisted in that. It was more important that widen the field and vision.However, what exactly was Cao Yu such a courageously innovative and compatible style made his drama exceed the acceptance of the time. Therefore, there was a contradictive phenomenon that as a drama author he was popular with the receivers, on the other hand, he had to accept the most misunderstanding. The receivers communicated the most enthusiasm into reading、 acting and applauding; at the same time ,misunderstood the drama because they had their own understanding.By carding the acceptance of drama Thunder and Sunrise throughout more than 70 years, this text focuses on a series of aspects as follow: Firstly, the receivers’ comprehension how to return the original meaning of Thunder, secondly, the acts that had had to be splitted up restored the two dramas; thirdly, the two dramas successively adapted for TV series. Through the three aspects, we can draw a conclusion that the characteristic of the reception process, which went through from misunderstanding to comprehension gradually and that the receivers endowed with the newly cultural intension on the basis of the comprehension.It is surely that any phenomenon of the objective world has its rationality, and also has its original reason. The purpose of this text not only lies in the conclusion drew by carding the reception of the drama Thunder and Sunrise, but expects to search after whatever factors, which having had effected on the receivers, resulted in the characteristic of the reception process. In order to find out those factors, we attempt to discuss the thesis into two aspects—author and environment, receivers and reception environment—by the Anticipating Horizon of Reception Theory as well as the collective characteristic of Aesthetics Mentality and so on. By the aforesaid demonstrations in this text, we generalize that the characteristics of Chinese receivers is that as follow: reality of the Anticipating Horizon, integrality、 intervention and loving happy ending, commiseration being different from the western receivers. With those conclusions above-mentioned we attempt to answer the reason that took on a contradictive phenomenon during the reception process of Cao Yu’s drama.更多还原