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一、苏联当代戏剧的背景研究进入80年代,中国实行改革开放政策,国人开始重新将目光投向世界。但与50年代不同的是,苏联不再是唯一的学习榜样,人们关注于欧美远胜过老大哥。随着俄语呈现式微之势,学术界中研究苏联戏剧的力量总体上也远不如西欧及美国戏剧。然而,由于俄罗斯民族深厚的文化传统、文学底蕴,尤其是意识形态上与中国千丝万缕的联系以及剧作家及其作品本身焕发出的生命力,以万比洛夫为代表的苏联戏剧在新时期的中国剧坛仍占有一席之地。直至1991年苏联解体之后的十数年,不断有苏联的戏剧作
First, the background of Soviet contemporary drama research into the 1980s, China implemented the policy of reform and opening up, people began to re-look toward the world. But unlike the 1950s, the Soviet Union is no longer the only role model for learning. People pay more attention to being far ahead of Big Brother in Europe and the United States. With the decline of Russian language, the power of studying Soviet drama in academia is far less than that of Western Europe and the United States. However, due to the profound cultural traditions and literary details of the Russian nation, especially its inextricable links with China and the vitality of the dramatists and their works themselves, the Soviet drama represented by Wanilov is in the new Period of Chinese theater still occupy a place. Until decades after the dissolution of the Soviet Union in 1991, there have been Soviet theater productions