俄罗斯文艺

在俄国现实主义文学谱系中，与托尔斯泰和屠格涅夫同时代的剧作家奥斯特洛夫斯基，被赋予了并不亚于前两者的地位。然而，奥斯特洛夫斯基在新文化运动时期并未像托尔斯泰、屠格涅夫、果戈理等人受到中国学人的青睐。20世纪二十年代初，耿济之、柯一岑、郑振铎翻译的奥斯特洛夫斯基作品在文坛上并未获得过多反响和讨论。直到中国现代戏剧的黄金时期，“旧俄”剧作家奥斯特洛夫斯基才在中国得到广泛传播。他的戏剧不断被翻译、改编和上演，四十年代后期文坛还出现了专门研究奥斯特洛夫斯基的著作。一方面，这与战时中国的戏剧生态不无关系，如戏剧创作的发展、戏剧团体的繁荣、演剧活动的成熟等；另一方面，不可忽视苏联在二三十年代重视文化遗产，提出“重回奥斯特洛夫斯基”的口号和举办戏剧节等一系列的文艺政策。全民抗战时局中，中国戏剧界对奥斯特洛夫斯基的现实主义的讨论与左翼话语和戏剧思潮密切相关。中国戏剧要解决如何发扬现实主义精神和如何实现大众化、民族化两大问题，就需要克服因抗战热情而产生的以政治宣传为主、脱离群众现实生活的概念化和公式化的弊病。奥斯特洛夫斯基作为“俄罗斯民族的”剧作家，在创作中始终保持忠于现实的态度。这无疑为四十年代中国戏剧的发展提供了重要参考。

In the literary pedigree of Russian realism, the playwright Ostrovsky,a contemporary of Tolstoy and Turgenev, is given a place no less important than the first two. However, during the period of the New Culture Movement, he was not favored like Tolstoy, Turgenev, Gogol by Chinese scholars. In the early 1920s, Ostrovsky's works translated by Geng Jizhe, Ke Yicen and Zheng Zhenduo did not get much response and discussion in the literary circle. It was not until the golden age of modern Chinese drama that Ostrovsky was widely disseminated in China. His plays were constantly translated,adapted, and staged. And in the late 1940s there were works devoted to the study of Ostrovsky. On the one hand, it has nothing to do with the drama ecology of wartime China, such as the development of drama creation, the prosperity of drama groups, and the maturity of drama activities. On the other hand, it cannot be ignored that in the 1920s and 1930s, the Soviet Union attached great importance to cultural heritage, proposed the slogan “Return to Ostrovsky” and organized a series of literary and artistic policies such as theater festivals. During the Anti-Japanese War, the discussion of Ostrovsky's realism in Chinese theater circles was closely related to the left-wing discourse and the dramatic trend of thought. In order to solve the two problems of how to carry forward the spirit of realism and how to realize the popularization and nationalization of Chinese drama,Chinese drama needs to overcome the disadvantages of political propaganda and the conceptualization and formulation which are divorced from the real life of the masses caused by the enthusiasm of Anti-Japanese War. As a playwright of “Russian nation”, he always maintains a faithful attitude to reality in his creation. This undoubtedly provided an important reference for the development of Chinese drama in the 1940s.