中國話劇史上の翻譯劇とその上演 : 戰時中及びその後の場合

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書誌事項

タイトル別名
  • Translated Plays and Their Theatrical Performances in the History of Chinese Modern Drama --In and after the Sino-Japanese War--
  • チュウゴク ワゲキ シジョウ ノ ホンヤクゲキ ト ソノ ジョウエン センジ チュウ オヨビ ソノゴ ノ バアイ
  • 中国話劇史上の翻訳劇とその上演 : 戦時中及びその後の場合

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抄録

The Sino-Japanese War from 1937 gave great influence upon Chinese modern drama 話劇, which had made marked progress in the past years. Owing to the long-drawn-out war, the quantity of publications and magazine sharply declined and as a result, the literary translations of foreign plays and their performances declined obviously. During the war, China was divided into 3 parts: Japanese-occupied area 淪陷區, liberated area 解放區 and unoccupied area 大後方. Here we choose Shanghai 上海, Chongqing 重慶 and Guilin 桂林, Yan'an 延安 as the models of these 3 areas to investigate the performances of translated plays 翻譯劇. In Shanghai, modern drama got more new audiences than prewar period and its performance was very frequent. But there were few performances of translated plays in this period. The ripeness of creative plays 創作劇 resulted in the fact that translated plays were no longer needed as before and its existence just because of the increasing business. In Yan'an, translations of foreign works were extremely few except of Soviet works. Under the adverse material conditions, plays of Moliere, Chekhov were performed on the stage of Yan'an mainly to train theatrical talents. However, after the rectification movement 延安整風 this kind of translated plays was no longer performed. It was replaced by realistic, political creative plays such as Yanggeju 秧歌劇 soon and this tendency spread all over the country after the war. In Chongqing and Guilin, just like in Shanghai, performances of translated plays also declined and most of them were translated not at that time but in prewar period. Although Shakespeare's works and Soviet plays were largely translated at that time, they were not performed timely. Amusing, interesting and dramatic translated plays were chosen to be performed in unoccupied area. From the examination mentioned above, we have learned that mainly because of the maturity of creative plays, translated plays were no longer playing a leading role but instead a supporting role in Chinese modern drama. The performances of translated plays were almost due to the external factors such as business, competition among the theatrical companies and so on.

収録刊行物

  • 中國文學報

    中國文學報 60 37-64, 2000-04

    京都大學文學部中國語學中國文學硏究室內中國文學會

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