CAJ | 학술논문

身处租界时代又长在天津租界区的曹禺，不可能不受到租界空气的影响，从而形成他的独特个性气质及创作心理。在这一创作心理的潜性诱导下，他创作了一系列优秀的剧作，以《雷雨》、《日出》、《北京人》为代表，并在其中绘制了一幅幅鲜明的租界图景。笔者试图从租界文化的角度来解读曹禺及其剧作，以期为理解曹禺寻求另一种解读路径。
신처조계시대우장재천진조계구적조우，불가능불수도조계공기적영향，종이형성타적독특개성기질급창작심리。재저일창작심리적잠성유도하，타창작료일계렬우수적극작，이《뇌우》、《일출》、《북경인》위대표，병재기중회제료일폭폭선명적조계도경。필자시도종조계문화적각도래해독조우급기극작，이기위리해조우심구령일충해독로경。
Living in a time of leased territory and settled in one literarily in Tianjin, playwright Cao Yu could not be free from influence of the culture of the leased territory, neither his character or his plays. Some of his best plays -The Tempest, The Sunrise, and The Beijing Natives -are set in the leased terri-tory and provide pictures of the leased territory not unintentionally.The author of this paper attempts to read his plays and the playwright himself from the perspective of the culture of leased territory.