朗诵诗的戏剧化抒情美学OA
The Dramatized Lyric Aesthetics of Recitational Poems
朗诵诗作为一种"发声"诗体,在20世纪三四十年代承担着重要的宣传教育功能,其功能性特征长期主导了学界对其的理解与评价.然而,回到具体文本与演出实践可以发现,朗诵诗并非仅限于单向度的政治宣言,而是在抒情结构中吸纳了戏剧化的叙事策略、情境塑造与声音表达,形成独特的现代抒情范式.其政治美学功能的实现,依赖"文本—身体(声音)—空间(现场)"多媒介的协同,将抽象意志转化为可感的情境与动作,并在现场放大为集体性情感经验.艾青通过《大堰河》《火把》探索了从个人抒情到集体情感的转化,构成"现实—文本—剧场"的镜像关系;高兰则以"流亡—反抗"的叙事模式激活"演员—观众"的共在空间.这些艺术尝试不仅延续了朗诵诗的历史使命,也揭示了诗歌、戏剧与政治动员之间的内在联结.
The recitational poem,as a form of the"vocal"poem,played an important role in propaganda and education in the 1930s and 1940s,while its functional traits had long dominated its understanding and evaluation in the academic community.However,as shown in a survey of specific texts and performance practices,the recitation poem,rather than just a one-dimensional political declaration,incorporates dramatic narrative strategies,scenario construction,and vocal expression within its lyrical structure,thereby forming a unique modern lyrical paradigm.The realization of the political aesthetic function of the recitational poem relies on the collaborative efforts of mul-tiple media such as"the text-the body(sound)-the space(scene)",which transforms the abstract will into per-ceptible situations and actions,and amplifies them into collective emotional experiences at the scene.Ai Qing ex-plored the transformation from individual lyricism to collective emotion through The Dayan River and The Torch,constructing a mirror relationship among reality,the text and the theatrical space.Gao Lan,by contrast,activated the co-existence space of"performers-audience"through the narrative mode of"exile-resistance".These artistic at-tempts have not only continued the historical mission of recitational poems,but also revealed the inherent connec-tion among poetry,drama and political mobilization.
李瑞雪;阎真
武汉大学 文学院,湖北 武汉 430072中南大学 人文学院,湖南 长沙 410083
社会科学
朗诵诗抒情性戏剧化多媒介
recitational poemslyricismdramaticizationmulti-media
《海南师范大学学报(自然科学版)》 2026 (3)
83-91,9
国家社会科学基金重大项目"中国新诗传播接受文献集成、研究及数据库建设(1917-1949)"(16ZDA186)
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