论吴祖光神话剧的双重空间

吴祖光在40年代连续创作了三部风格独特的神话剧作品《牛郎织女》、《捉鬼传》和《嫦娥奔月》,这种回溯古老神话传说的戏剧形式在当时受到了极大的关注与欢迎。现代神话剧既是对古老神话戏曲传统的继承,也是对现代话剧表现形式的拓展。吴祖光的神话剧分别采用了仙境-人间与鬼域-人间的空间模式,借助古老的神话题材体现出对于现实社会的思考。论文主要从吴祖光神话剧的双重空间形态的视角来考察剧作家独特的审美追求。

On the Dual Space in Wu Zhuguang' s Myth Plays

In the 1940s,Wu Zhuguang had successively written three unique-styled plays of mythology—The Herd-boy and the Weaving Girl,The Story of Ghost-catching and The Goddess Chang＇s Fly to the Moon,which had led to tremendous attention and popularity.Modern myth plays are not only an inheritance of the tradition in ancient myth plays but also an expansion in the expression form of modern drama.In his plays,Wu Zhuguang exhibited his considerations on actual society by way of ancient myth subject matters presented respectively in the spatial modes of fairyland and the human world as well as the domain of the evil spirit and the human world.This paper is an attempt to analyze Wu＇s special aesthetic pursuit in the perspective of the dual spatial mode in his myth plays.