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为了阐明文明戏与日本新派剧的密切关联,本稿探讨了萨都原作的《杜司克》在中国和日本曾带来的具体影响。首先简要介绍了原作在法国问世(1887年)、其后改编成歌剧(1900年)的经过。然后分析在日本根据《杜司克》改编的一些作品,包括歌舞伎《扇之恨》(1891年)、田口掬汀的新派剧剧本《热血》(1907年),最后探讨中国留日学生欧阳予倩、陆镜若等在东京上演的《热泪》(中文版《杜司克》,1909年)以及20世纪初叶在中国公演该剧的状况。
In order to clarify the close relationship between civilized play and Japanese new school faction, this essay explores the specific influence that “Du Si Ke” in the original Soodu had brought in China and Japan. First, a brief introduction of the original work in France (1887), later adapted into the opera (1900) after. Then we analyze some works adapted from “Du Si Ke” in Japan, including “hate of fan” (1891) of kabuki and Taguchi Taguchi (1907), the play of the new school of Taguchi, and finally discuss Ouyang Yu Qian, Lu Jingruo and other “Tears” staged in Tokyo (Chinese version of “Du Si Ke”, 1909) and the early twentieth century performance of the drama in China.