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我們常常在有關苏联戲劇的論文中看到‘暴風雨’、‘柳鮑芙·雅洛娃婭’、‘投机商人’(即‘霜餅’)等等劇本的名称,这些劇本都是被推崇爲苏維埃時代最優秀的並在苏联戲劇創作發展中起过重大影响的作品,但一直没有机会讀到。‘劇本翻譯?诙嫛瑫r發表了这三個戲的譯文,使我們有了对这些優秀作品進行深入研究与学習的机会,这是十分令人興奮的。‘暴風雨’与‘柳鮑芙·雅洛娃婭’这兩個劇本使我們对苏联十月革命後國内緊張尖銳的階級鬥爭有了明確的認識。在‘暴風雨’中所展開的鬥爭場面是那樣驚心動魄,反革命分子是那樣險惡麄兇觼聿桓市乃罍?不肯順从地退出歷史舞台。在革命勝利以後,他們仍然要頑强的掙扎,在陰暗的角落裏隱蔽起來以圖復辟械膩K打入革命陣營的内部,利用一切可能利用的机会,
We often see the titles of ’Tempest’, ’Liu Baofa Ya Luo Wa Ya’, ’Speculative Merchant’ (ie ’Frost Cake’) etc in the essay on Soviet drama, which are all highly regarded as The most outstanding works of the Soviet era that have had a significant impact on the development of theatrical productions in the Soviet Union have never had the chance to read. ’It is very exciting to have the translations of these three plays translated to give us an opportunity to conduct in-depth research and study on these outstanding works. The two plays, ’Tempest’ and ’Liubaub Yalova’, give us a clear idea of the tense class struggle in the country after the October Revolution in the Soviet Union. The scenes of the struggle that began in ’The Tempest’ are so frightening. The counterrevolutionaries are so sinister and fierce. They refuse to obey and withdraw from the stage of history. After the victory of the revolution, they still have to struggle tenaciously and hide themselves in dark corners in the hope of reinstating them. They have managed to break into the interior of the revolutionary camp and make use of all opportunities that may be exploited.