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1 近几年,大家都在分析戏剧危机,寻找戏剧出路。可我们是否意识到了现存戏剧样式的贫乏呢?的确,我们有戏曲,有话剧,还有歌剧、舞剧等。但这并不意味着从此只需对旧样式修修补补而不必创造新的戏剧样式。当我们用宏观的眼光透视中国戏剧的历史、现状和未来时,如果这样预测——中国戏剧将在本世纪末下世纪初诞生出它的新样式。它将继承和保留现存戏剧样式的精华而扬弃其局限,成为民族现代戏剧的主要形式——那将会遇到怎样的质询、解决什么难题,又如何用创作去实践它呢? 预测是难的,尤其是对于艺术未来的预测。因为人类的精神需求是那样的丰富而又善变。但预测也并非因此而不可能。今天的民族艺术总是昨天的发展:它必然会走向明天,在时间的链条上,它留下了供人辨认的轨迹。
In recent years, everyone has been analyzing the drama crisis and looking for a dramatic way out. But can we recognize the paucity of existing theater styles? Indeed, we have drama, drama, opera and dance drama. However, this does not mean that it is only necessary to make up for the old style without creating a new drama style. When we look at the history, current situation and future of Chinese drama from a macroscopic perspective, if we predict that Chinese drama will emerge its new style at the beginning of the 21st century by the end of this century. It inherits and retains the essence of the existing drama style and renounces its limitations and becomes the main form of modern national drama - what challenges will it encounter, what problems to solve, and how to practice it with creation? Prediction is difficult , Especially for the future of art. Because the spiritual needs of mankind are so rich and fickle. But forecasting is not impossible either. Today’s national art has always been the development of yesterday: it is bound to move toward tomorrow, in the chain of time, it left a path for identification.