论文部分内容阅读
时至今日,中国话剧舞台上,由北京人艺创立的独特风格已被抄袭得不具任何新意,一些剧作社会性主题也被做作的箴言警句和青春期的打情骂俏所替代;极其有限的外国剧目也终因隔山离水而仅止是戴头套的洋腔洋调;而有些演出迫于生计,又多了一点歌舞升平,袒胸露腿、出出洋相的添加剂。当所有的题材和观点从以往的隐晦、规避发展到今天面临动荡、变革的现实显得无能为力、麻木不仁、不知所终时,中国话剧已经面临着被淘汰的危机。身处这样一个绝境,作为新一代也可称之为第四
To date, the unique style created by Beijerkers’ Art in the stage of Chinese drama has been copied without any new ideas. Some social themes in plays are also replaced by proverbs and adolescent flirting; some extremely limited Foreign repertoires are also the result of every mountain water leaving only a bikini ocean tone; and some performances forced livelihood, but also a little more singing and dancing, bare shoulders, out of the appearance of additives. When all the themes and ideas from the obscure and evasive development of the past are facing turmoil and the realities of change seem powerless and insensitive to the present, China’s drama has now been facing a crisis that has been eliminated. Living in such a desperation, as a new generation can also be called the fourth