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在戏剧界有些人士心目中,云南少数民族戏剧可能是以其不亢不卑、温驯质朴面貌出现的——尽管它有着独特的文化背景、民族风情和自然条件,以至构成了国内外人们称羡不已而又神秘瑰丽、多姿多采的云南风光。这是一种未必准确的戏剧印象,但却是一个实在的客观反映。这里发表的几篇文章就是我院云南戏曲创作进修班学员在云南少数民族戏剧研究课程中有了一些思考的基础上撰写出来的。这些文章都存在着一个共同特点,即他们虽然来自基层、边疆和少数民族地区,但并不满足于单调狭窄的戏剧取向,他们的文化价值和艺术观念产生了裂变,更趋于现代化,具有一种强烈的要使少数民族戏剧与时代同步发展的变革意识。这些文章中,有不少就是从云南少数民族戏剧的历史、源流、作家作品、艺术特征的视角来进行研讨,这应当说与更新戏剧观念是并行不悖的,历史常常比现实更能预见到未来的发展。这也表明学员们在理论上是严谨的,方法上是辩证的,显示出他们已跨越了单凭热情而企图革新戏剧的起步阶段,逐步走向自觉与理智。这步是适宜的,因为对待目前少数民族戏剧状况,既应解放思想、更新戏剧观念,但也应防止把云南边疆和沿海大城市作浅层的类比,以至于从一种模式的空壳转换为另一种模式的空壳,用所谓的理论解剖刀去阉割丰富多采的少数民族生活与民族戏剧。而如何挖掘出它们所蕴含的特殊规律性与审美需求,这才是重要的。
In the eyes of some people in the theater, ethnic minorities in Yunnan may have appeared in their unspeakable and gentle simple appearance - despite their unique cultural background, ethnic customs and natural conditions, which constitute the envy of people both at home and abroad And mysterious magnificent, colorful scenery of Yunnan. This is not necessarily an accurate impression of the drama, but it is a real objective reflection. A few articles published here are written by our students in Yunnan Drama Creation and Training Class in Yunnan Minority Drama Research Course. All of these articles have one common characteristic: they are not satisfied with a monotonous narrow drama orientation although they come from grassroots, frontier and ethnic minority areas. Their cultural values and artistic concepts have been fissured and become more and more modernized. A strong sense of change to make ethnic minorities play in sync with the times. Many of these articles discuss the history, origins, writer’s works and artistic features of ethnic minorities in Yunnan. This should be said to be in line with the notion of updating the notion of drama, and history is often more predictable than reality development of. This also shows that the students are theoretically rigorous and methodologically dialectical, showing that they have already crossed the initial stage of trying to reform their drama with enthusiasm and moving toward consciousness and reason. This step is appropriate because treating the current situation of ethnic minorities should not only emancipate the mind but also update the notions of drama but also avoid the shallow analogy between the Yunnan frontier and the coastal cities so much so that the conversion from one mode of empty shell For the empty shell of another model, the so-called theoretical scalpel is used to castrate rich and varied ethnic life and national drama. And how to dig out the special regularity and the aesthetic need that they contain, this is important.