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本世纪新批评派理论家T·S·艾略特在《传统与个人才能》中说:“我们所意识到的现在是对于过去的一种认识,而过去对于它自身的认识就不能表示出这种认识处于什么状态,达到什么程度。”并由此引伸出“不但要理解过去的过去性,而且还要理解过去的现存性”。我不知道川剧作家魏明伦是否有此理论思考。但是,可以清晰地看出魏明伦一系列历史题材的写作意识恰好与艾略特的论点不谋而合。他的基本思路是:以现、当代的历史眼光重新反思、审视那些在历史的烟笼雾罩中或似是而非、或甚而是已有定评的历史题材和历史人物,并有所选择地借鉴其他艺术品种或国外的创作手法,以改造古
This century’s critics of the New Criticism, TS Eliot, said in “Tradition and Individual Creativity,” “The moment we realize is a recognition of the past that can not be expressed in the past What is the state of this understanding, and to what extent. ”It leads to the idea of“ not only understanding past pastness but also understanding the existential past. ” I do not know if the writer Wei Minglun of Sichuan opera thought about this theory. However, it is clear that the writing awareness of a series of Wei Minglun’s historical subjects exactly coincides with Eliot’s contention. His basic idea is to reconsider with historical perspectives of the present and the contemporary, to examine the historical themes and historical figures that have been plausible or plausible in the haze of history, and to selectively borrow from others Variety of art or foreign creative techniques to transform the ancient