曹禺《日出》對契訶夫《三姊妹》的借鑒－－一個中國現代戲劇發展早期的接受影響個案

The Influence of Anton Chekhov's The Three Sisters on Cao Yu's Sunrise-an Early Case of Receptive Foreign Influence on Modern Chinese Drama Development

胡馨丹(Hu, Xin-Dan)

曹禺 ； 日出 ； 契訶夫 ； 三姊妹 ； Cao Yu ； Sunrise ； Anton Chekhov ； The Three Sisters

人文與社會學報

3卷6期（2017 / 05 / 01）

137 - 161

繁體中文

曹禺劇作鶴立於現代戲劇發展早期的中國劇壇，幾部代表作均明顯的受西方劇作影響。《日出》一劇嘗試借鑒俄國大文豪契訶夫的《三姊妹》，是唯一一齣曹禺白紙黑字寫下其有意識接受影響的劇作。深諳契訶夫戲劇特性的曹禺，一方面表明要學習《三姊妹》的創作方法，一方面卻又脫離《三姊妹》寫實的創作精神，《日出》一劇顯然有其不同於寫實主義要求的創作意圖。本文從曹禺創作《日出》時戲劇美學觀點的轉變論起，講明曹禺戲劇美學之所以轉向之故，以及他對契訶夫《三姊妹》的藝術體會；接著闡述影響《日出》借鑒《三姊妹》的三個接受變項，包括曹禺個人關照普通觀眾的通俗趣味、創作主體強烈的情感介入，以及左傾的意識形態，比較契訶夫的創作觀念和《三姊妹》創作成果，說明《日出》在借鑒成果上的遙遠偏離；最後總結至一個從以上兩部劇作的比較研究而觀察到的創作意圖問題，分析曹禺《日出》戲劇藝術上「畫虎不成反類狗」的時代共業。

Cao Yu's plays stood head and shoulders above the Chinese theatrical circles at the initial stage of the development of modern Chinese drama. Several of his masterpieces were obviously influenced by western plays. Sunrise, the only one which Cao Yu acknowledged in black and white that he was conscious of being receptively influenced by the Russian literary master Anton Chekhov's The Three Sisters. Cao Yu versed in the features of Chekhov's plays: on one hand, he claimed to learn from the creative methods of The Three Sisters; on the other hand, he departed from the realistic creativity of The Three Sisters. Sunrise had its own creative intention palpably different from the realism requirements. This paper starts with a discussion of Cao Yu's turn of his perspective on dramatic aesthetics when he created Sunrise. It elaborates the reason why Cao Yu made a dramatic aesthetic turn with new perspectives, and his artistic comprehension of Chekhov's The Three Sisters. Furthermore, it depicts three variables including Cao Yu's personal care and attention to the common people's secular tastes, creative subject's vigorous emotional intervention, and the left-wing ideology, comparing with Chekhov's ideas of creation and the creative achievement of The Three Sisters to elucidate the significant deviation of Sunrise's referring to The Three Sisters. Finally, it concludes with the problem of creative intention observed by the comparative study of the above two plays to analyze the collective karma of that era - he painted a tiger but it turned out a dog - presented in Cao Yu's Sunrise on the level of dramatic art.

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