Փԡr(sh)ʿ|(zh)ԃ
l(f)r(sh)g:2020-06-10 Դ: ĬЦԒ c(din)
(ni)Ҫ 90ԁ҇ČW(xu)j֮ʹҸᘌԵ؈(jin)֑ԵăɷַёԷ֞顰ČW(xu)(gu)еđԡ͡_ʬF(xin)еđԡɷNڮ(dng)o(h)ľҪȺl(wi)ČW(xu)ͬ⏈r(sh)ʿČW(xu)(gu)еđԡ顰Ӽڡ_ʬF(xin)еđԡ֮е^c(din)@һ^c(din)ڿ^L˺ҕČW(xu)ăAɷNԵP(gun)ϵǡںͰǡ(ni)ڡcڡoΡcΡ`ꡱcwģԪCy(tng)һP(gun)ϵ
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ͬՄˌW(xu)ͲܲՄԡ}һӑՓW(xu)ȻͱӑՓԡĆ}ǰ˾ˇg(sh)ʮv@W(xu)ͨR֮õđW(xu)̲[1]ڡˇg(sh)20036ڰl(f)ˡԺՓһģSҲͳ˽̿ƕеһvr(sh)ʿڡW(xu)20083ڰl(f)P(gun)ڑԵĘ(gu)ɡһģҵ^c(din)u|(zh)ԃһЩ뷨Եؚgӭ@uܸdcuM(jn)ЌԒF(xin)ڌW(xu)g(sh)ȱJ(rn)ӑՓ}L(fng)҂͑(yng)ԓԌ(sh)(sh)ڵЄ(dng)ٳ@NL(fng)γɡF(xin)ڴҶڼo(j)ĸ_30꣬ᳫһ݆˼ҲԸ@νشr(sh)ʿ|(zh)ԃ혱a(b)ڑԆ}ϵһЩ뷨?q)WтՈ̡ņ}ӑՓһõ
90ԁ҇ČW(xu)j֮ݣʹҸᘌԵ؈(jin)֑Եăɷַ
䌍(sh)ҌԼƪՓԵ²Mָ؟(z)eˡֻՄһԡԼՄҲܲȫȱ˼롢ϵȺ߶ȡF(xin)ڿڑļg(sh)ՄՄöδ˵ľϰ@(g)}ھȥڼg(sh)vvһЩR}|(zh)xW(xu)mȻo˼롢Ćx(yng)ԓfǺܲġڌ(dng)ǰ҇(chung)uČ(sh)`f䌦Щ顰(chung)ĥđҁf@Ng(sh)ӑՓ]ʲôx2005ָf܉ϵA̗lx͡·ӡϵЃ~܌W(xu)(lin)(qun)ݡcXY(ji)ΡcЈBL(fng)ĻB(ti)ݞ֮һ׃ľ˥֮ˌW(xu)λ(dng)u@һ90ԁЇ(dng)ھϵć(yn)ήs[2]Ƕ|һЩҪ}ġǰԺՓr(sh)߀δ܌@һּ؞С@Ȼx_һr(sh)rĻ˵ľB(ti)صķՄԵҪ֮̎һ(g)Tĕr(sh)ֻv|(zh)Եġg(sh)䌦@ӵľa(chn)ƷfHoк
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ԡ@һ(g)˂ՄúܞEx^༼g(sh)ԃ(ni)Ԓ}뎧Լ\(yn)ĸܺ˼ұ˵Đۺú̓Aо@(g)}90ԁ҇ČW(xu)j֮ݣʹҸᘌԵ؈(jin)֑Եăɷַͨф_ݳġKˡɡ@һ^c(din)(jng)λ(do)¿(do)݆Tҕ˄Һ͑ČW(xu)ǂ(g)ɵԞֻһ(g)ĶӡҌԅ^(q)֞顰ČW(xu)(gu)еđԡc_ʬF(xin)еđԡքeM(jn)ՓČW(xu)(gu)еđԡ(yng)ӢZDramatismDramatic
_ʬF(xin)еđԡ(yng)ӢZTheatricalityTheatricalǰƫڡ`(ni)ڡ˵ġ˼SZԡ֣dw
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ӛǕr(sh)҄ʥ˵ñ(dng)r(sh)߀ЌգĪ˹һʥ˵ñ³ġՓǷ_Z˹˄PҮvFx˼ČW(xu)cF^ݡЄă^c(din)r(sh)e˃ɂ(g)eČW(xu)ӡһ(g)ǶΨxuȡߠ1911l(f)һJ(rn)ֻафڕΪ(d)һxh(yun)ʮɫ̵Ącxߵġɂ(g)`o[֮_(d)ںϡ@λu(jin)fˇg(sh)һN̓(dng)?sh)Ęʽһfڸˇg(sh)Ĵͥһ(g)ǰl(f)20o(j)20ģ(dng)F(xin)xExpressionism TheatreԡhˑB(ti)OԶʹ֮ČW(xu)Hr(sh)䷴߾eČW(xu)֮c֮⣬P(yng)ֻСxđˇg(sh)ϲ_ʬF(xin)tֻ^һNͼġr(sh)սsN(dng)ҺɷӑՓ@Щ^c(din)r(sh)߀صؽBЇƵf❓ڡW(xu)оf^(d)x(yu)ڿ_ݳĄS౯Ăxȱݳá@@ȻcTt֮Ҋһ}е
ҞʲôҪ@؏(f)@Щ¡
@Щ^c(din)MܸƬҲ䡰ƬԡҴ_Եăɷַ˷dzҪĆl(f)áҏìJ(rn)Rԡx˼صđČW(xu)cԡ^ݡص_ݳMܿԡ϶һǃɂ(g)ɂ(g)ǡ֮pǡ˥ʢɔҲǽ(jng)l(f)Щ^c(din)Ǐ@NìЮa(chn)ĆȻ@βɴքeՓ֮ՓC˃ɂ(g)(d)Եġԡһ(g)DŽڄ(chung)РIDramatism,˞xW(xu)һ(g)ҪSuңu҄e˹(jng)ʹ@(g)ʾǷNӳ֮˼־_ͻġԡҰ@NԷQ顰ČW(xu)(gu)еđԡ@ƫڃ(ni)ڵһNԡһ(g)nj(do)݆T_ϠITheatricality,W(xu)g(sh)@һʾԺݳġԡҰ@NԷQ顰_ʬF(xin)еđԡ@ƫڵġ|(zh)һNr(sh)`TheatricalityfǵxW(xu)ɵİl(f)@cСDramatismP(gun)ɡ
ҲP(gun)Iһc(din)ҵđԃɷַHc90ԁҌ׃څݵP(gun)ע[nP(gun)ͬr(sh)Ҳ@NP(gun)ע[nʹڃɿ֮gӃAںo(h)ġČW(xu)ԡھϵăr(ji)ֵF(xin)˼ϿųČW(xu)ĿwfġˌW(xu)λδ(dng)u_ϼʹҵ˼룬ҲչF(xin)(do)ݵġȻЇF(xin)ЧAsڡˌW(xu)λLڲ(wn)ˡڑлʧrһҪr(sh)֡Ҫ_ČW(xu)[ڡȥΡͬr(sh)ҲųˆԺ;Бppɵػ惺90ԁ҇ھχ(yn)ήsݳĹ١ԡbc(din)ԡ顰ѡuXˇg(sh)(dng)Ȼ䡰惺غܣ@ҪwF(xin)_ʬF(xin)֮r(sh)ҲfǰTheatricality֮е@NغÛͳɞĻOᘌ҇@NjҵđB(ti)H(yng)ԓ(jin)֑ԵăɷַҪ^m(x)zغČW(xu)Ǐ@һc(din)l(f)ҕr(sh)߀ܽr(sh)ʿP(gun)ڌČW(xu)(gu)еđԡ顰Ӽ_ʬF(xin)еđԡȥҊc(lin)ϵҲͬTheatricality(_ʬF(xin)еđ)g顰ԡĽh
ڮ(dng)o(h)ľҪȺl(wi)ČW(xu)(yn)
r(sh)uҰуɷNԡ(yn)һNP(gun)ϵf_ʬF(xin)еđԡt(yng)(dng)ČW(xu)(gu)еđԡڃ(ni)ټό(do)݆T^ڃ(ni)_Ϲͬ(sh)F(xin)ǷNԡJ(rn)P(gun)ϵ(yng)(dng)顮ČW(xu)(gu)еđԡǡ_ʬF(xin)еđԡһ(g)Ӽ֮gǰںͰP(gun)ϵǻIJP(gun)ϵ}¾ͳ@@(g)߉ҵġԃɷַѽ(jng)ص߽r(sh)Ĺʽǣ_ʬF(xin)еđԡTheatricality=ӼġČW(xu)(gu)еđԡ(Dramatism)+(do)݆T^ء@fTheatricalityǡԡȫDramatismHHDZеһ(g)Ӽ߀ʲôɷַ(c(din)̎xһ)
ʿTheatricalityg顰ԡ@ԡǑ^ǰȫBԡ@һձJ(rn)ɵĸҲԏUˣֻڄxл뵽ʿ߀ڡԡвֵرɑzČW(xu)ԣF(xin)tB@һc(din)ӼҲҪ(q)m]СF(xin)ǘӏصY(ji)Փsһ@һ^c(din)ڿ^ǡǡLʮҕČW(xu)ăA
F(xin)Ҫɂ(g)}һ(g)Dramatism(ČW(xu)(gu)еđ)cTheatricality_ʬF(xin)еđԣߵʲôP(gun)ϵһ(g)}Theatricality(_ʬF(xin)еđ)ב(yng)νЩw(ni)
fһ(g)}J(rn)ߵP(gun)ϵQǡw֡P(gun)ϵ`ꡱcwc|(zh)(ni)c⚤ǘӵĶԪCy(tng)һP(gun)ϵǰᵽf]_ݳđ^ǡow֮ꡱ@(g)˼ápЄҲǞf@NԪCy(tng)һP(gun)ϵ(dng)һđƷ_ϕr(sh)ɷNԲllЙC(j)ڞһwDramatismTheatricalityṩ˼еĻA(ch)`еԴȪcОĄ(dng)
߄twɫʵxǰġɸ֪|(zh)Ҳfߞ^M(jn)ǰľ֮@ṩһ_T耳@ߵY(ji)ǑԵѠB(ti)r(sh)]гJ(rn)RDramatismڑԘ(gu)ЏȫPľHH(dng)˘(gu)Theatricalityһ(g)Ӽ@c҂(jng)(yn)(sh)@Ȼȥh(yun)Ʃ箔(dng)҂^خ꡷ݳr(sh)҂_(dng)քݣӰЧ ČԒЧ
@Щ͡ ͨ^Theatricalityɵڡ͡ ֮˼־ě_ͻԵ_ur(ji)ijNĸߓP(yng)tǑ֮`ꡱɲخ(chung)r(sh)IDramatismṩ(yu)Č(do)ݡ݆Tͨ^Theatricality٬F(xin)Sl(f)չҠIDramatism
_Č(do)݆Tȫё˵Ҳ(jng)l(f)
ҲеtёݳɌ(do)ݵġ(chung)ôеDramatismnj(do)ݡؘ(gu)֮_ɂ(g)ԶԪCy(tng)һЙC(j)ںϣDramatismǝ[ġ(ni)ڵV֮˵(lin)˼
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ɷNԵP(gun)ϵf֮Theatricality_ʬF(xin)еđԣ(yng)νЩw(ni)ݵĆ}ͲyQ
ȑ(yng)ԓJ(rn)r(sh)uҌɂ(g)ԵՓƽTheatricality@N_ʬF(xin)еđԣՓñ^α@һҊґ(yng)ԓ?yn)Ҍ@һՓıʹÏr(sh)ӲDramatismTheatricality|_ʬF(xin)еđԵһ(g)Ӽ䌍(sh)F(xin)W(xu)ȫվڄԺ_ՄģČW(xu)ԁ_ԉ|ǸɴČW(xu)Lȥӛ1992۳ϯAđоHW(xu)g(sh)hr(sh)c¼ҹ^һqՓڡЇF(xin)ʷ塷Ї1989棩ġwՓf峯ĩꡭռ(j)_ľy(tng)fĴһѶe۵ijǻͱˇg(sh)l(f)չij̶һsʹČW(xu)Ժ˼(ni)ݴؚ]ԽĄ҆Ҳ]пQČW(xu)Ąa(chn)Ƭ݆TĵĻΰl(f)չʹČW(xu)ɞˇg(sh)Ŀɑzū澺ӹf㌦uDzl(f)չ@һ_(d)ஔ(dng)ʮָAΡF(xin)ǰ֪ųČW(xu)ǡ惺Ӳǡ惺ˮƽmȻͬ@ӵ^c(din)ҏҵһ(g)˼·Ա_ČW(xu)(gu)еđԡ_ʬF(xin)еđԡă(ni)
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ץס҂עʹ҂ԇDl(f)һ¶һ(g)Ҫģʽ˽һ(g)ģʽx[4]@һǰ^_ԡͻ@ԡŕɞ顰_ʬF(xin)еđԡе^Ķʹ˵ĸйڱĿ֮
f(dng)_ʬF(xin)еđԡTheatricalityѡoΡDramatimȫ(ni)ݣ׃ɡΡ_ϵđr(sh)ǣڡ^cݡr(sh)cաY(ji)γɵġxСԼxС֮µġ_ԡͻ@ԡfġʥԡҲɴˮa(chn)ġs׳ɵسJ(rn)ˡ١׃oΡ顰Ρ(dng)Ϸԡʹ˂ѡ١(dng)ˇg(sh)ڡԺՓЌc(din)ጣһ@xСˇg(sh)Ľʹ݆TҵˡM(jn)ݳĸXǻȫǡеwȶ׃oΡ顰Ρֶ@xСʹ^ҵˡ^һԡγˡ^cݡĽc(dng)֪SԈ]^c_(d)ЧxСʹġٶԡġsԳʹ^J(rn)_ϰݵ˺²ǬF(xin)(sh)挍(sh)֮Ӱġһ硱ʬF(xin)ǰġ
vġx(dng)ǡֵĿ䏈ԡϺҎ(gu)ɵ׃ԡҲǡ_ʬF(xin)еđԡҪҲǾoo@׃oΞΡ΄(w)l(f)]ˇg(sh)ܵ@ЩDZW(xu)ϵĆ}F(xin)Մ֮_ʬF(xin)Dzܻرܱ݆}ǰϺ¡x˼{h(hun)ߣfѽ(jng)ֵļ~sW(xu)đϵϵ ˼о_ϵđݡPerformance}Ҫ픺ĵĿ_oҲƺo̎
Մ_ʬF(xin)еđԡcČW(xu)(gu)еđԡ^߀һ(g)c(din)ɺҕǾǰѽ(jng)fġΑԡ
ΑǑ@һˇg(sh)Ҫ֮һ^ǿJ(rn)֪ijЩ˼^;r(ji)ֵx ܌W(xu)εĕ(bo)ǘӫ@ȡ֮ͨ^ܡ@ȡ֮ČоΑṩĿTheatricality(yng)ԓ@NΑֻDz܌Û͛]Dramatismij̶ȡǰuģĹԡ惺£ԡˡȫǰёΑԡʘԻÛĽY(ji)
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(dng)_ʬF(xin)׃oΡ顰ΡʧȥˡČW(xu)(gu)еđԡDramatismġoΡs֧cҫҲf(dng)˵B(ti)]еw(yn)Խϛ]aĸĕr(sh)^ԡ׃һ(g)տյ⚤㡰惺öࡰ[böûʣȲ˟oʧr(sh)һԒHеЩ_ʬF(xin)?jing)^У@ЩýֶһNýġXѡˌČW(xu)(gu)еđԡ⻯顮_ʬF(xin)еđԡ@һʹıF(xin)KOĿ@һԭȵıF(xin)ֶξ˱F(xin)Ŀ@r(sh)_ҲܳʬF(xin)һNԣ@NԼǶ^ġһN^C(j)еΑԵđЇijЩӑԼbСfױҕеĴ(dng)đԴڴ@ȫһN]Ѓ(ni)`ġԡʿP(gun)ڃɷNԵP(gun)ϵǡںͰ^c(din)c˴ͬ@P(gun)ڡ(ni)`ꡱcýP(gun)ϵĿǰһЩgԒͿ
挦҇(dng)@N^p(ni)ΑԡpԵjҠB(ti)Ҫo(h)ăr(ji)ֵXȾҪl(wi)ČW(xu)(yn)_ݳϻӷ@棬?jin)еwʮǰf^^(sh)ҵ̎DZ(dng)ģ(sh)F(xin)_(sh)`Еr(sh)ҪŤԼF(xin)ُ1997ʼҲ@Ñ@NʽڸҵČW(xu)@Ʒİl(f)һĽKY(ji)f@һNoΣ
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x_˵ă(ni)ھH|(zh)ͼg(sh)v͡ԡh(yun)h(yun)ġ
P(gun)Theatricality_ʬF(xin)еđԣǷɸg顰ԡĆ}ՄһһѡoΡDramatism׃ΡģҲԡČW(xu)(gu)еđԡ֧`ǷNTheatricalityg顰ԡڶvF(xin)(sh)Theatricality(ָһЩбԡ䏈ԵĄ(dng)龰)(c(din)̎xһ)
g顰ԡ?yn)ǃHHһNƬȟoҲo_Щo(ni)[նģȫýĿTheatricalityg顰ԡ
Փԣr(sh)f@кβՈr(sh)ʿuҲϣõW(xu)ͬʵָ
2008710ͲS
A Second Thought on Dramatism and Theatricality
------------An Answer to Dr. Zhang Shimings Query
Dong Jian
Abstract: The 1990s saw a decline in the Chinese dramatic literature. In response to the decline, I have proposed and insisted on a dichotomy of the genre --------dramatism and theatricality. Upholding humanistic spirit in the contemporary Chinese drama means, first and foremost, insisting on the literariness of drama. As a result, I cannot agree to Dr. Zhang Shimings viewpoint that dramatism should be subsumed under theatricality, which will lead to a negligence of literariness of the dramatic literature. Rather, there is a dialectic relationship between dramatism and theatricality, one between the interior and exterior, the invisible and visible, soul and flesh.
Key words: literary constitution; dramatism; theatricality; invisible; visible
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