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《云南戏剧》1988年二期陈彤彦对多元化戏剧时代的创新意识,发表如下看法:一、戏剧界在创新意识问题上存在着某些观念上的模糊和理解上的偏见:把戏剧观的新变化以及多元化戏剧表现形式的兴起,理解为创新意识,这是观念上的模糊;在多元戏剧之间进行简单的新旧类比,这是对创新意识理解上的一种偏见;新的戏剧观念浅尝辄止,传统戏剧观念迷惑徬徨,都是对创新意识缺乏宏观的真知和超越自我的思辨。二、创新意识来源于对生活的新发现。我国新时
“Yunnan Drama” In 1988, the second phase of Chen Tongyan on the diversity of the era of creative awareness, made the following observations: First, the theater of creative consciousness there are some conceptual ambiguity and understanding of the bias: the concept of drama New changes and the rise of diverse forms of theater are understood as conceptual ambiguities; the simple analogy of the old and the new between multiple plays is a prejudice to the understanding of innovative consciousness; the new concept of drama Shallow end, the concept of traditional drama bewilderment, are lack of macro-knowledge of innovation and speculation beyond the self. Second, the innovative consciousness comes from the new discovery of life. New time in our country