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作为一种异质文化,话剧艺术自进入中国文化语境后,经过数代戏剧人的艰辛追求,在艰难的嬗变中,逐步形成为一种有着独特美学意味的、文体样式日趋成熟的戏剧品种。可惜的是,急剧变化的社会文化语境将中国话剧送入了另一运行轨道,话剧布局形式结构的僵化、审美形式结构的贫乏相互消极地影响,使中国话剧文体的路子越来越狭窄。为突破僵化的布局形式结构和贫乏的审美形式结构所带来的局限性,新时期话剧进行了文体变革。新时期话剧变革渗透于文体形式的方方面面,但是其中最根本的变革则是在对话剧舞台本体属性确认基础上的话剧文体思维方式的变化。话剧文体思维方式由文学化向舞台化的转变,引发了新时期话剧文体的时空观念、结构形式、叙事方式、语言形态等方面的全面变革。
As a heterogeneous culture, after entering into the context of Chinese culture, after going through the hard pursuit of many generations of dramatists, drama art has gradually become a kind of dramatic variety with unique aesthetic meanings and maturing styles . Unfortunately, the rapidly changing socio-cultural context brings Chinese drama into another orbit. The rigid structure of the formal structure of the drama and the weakness of the aesthetic form have a negative impact on each other, making the narrative of Chinese drama narrower and narrower. In order to break through the limitations of the inflexible layout and the impoverished aesthetic form structure, the drama of the new era has undergone stylistic reform. Drama change in the new period permeates all aspects of style, but the most fundamental change is the change of thinking style of the style of drama on the basis of confirmation of the stage noumenal nature of the dialogue. The change of literary style of thinking from the stage of literary to the stage of drama has triggered the overall revolution in the concept of space-time, the structure, the narrative and the form of language of modern drama.