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戏剧的不景气是显然的。当着小说、电影不断推出被人们争相传诵的力作时,舞台上却很少有几台戏能激起观众心底的涟漪。这种尴尬的局面,不消说剧作家有责任,批评界也难辞其咎。过去相当长一个时期,除了政治判决式的批判和过誉的赞扬外,我们甚少在真正意义上的戏剧批评。政治判决近来已见敛迹,而真正的戏剧批评似乎也还未兴旺起来。剧评界册封了那么多“典型人物”,而至今仍能在舞台上延续其生命的又有几个?那些直言不讳提出问题,苦苦求索艺术规律的批评,多出在文学和电影界;即使权威意
The downturn of the drama is obvious. In the novel, the movie continues to introduce competing stories that people are competing with each other, there are few scenes on stage that arouse the hearts of the audience ripples. Needless to say, such an awkward situation calls for the playwright to blame. For quite a long time in the past, apart from the critique of political judgments and the acclamation of prestige, we rarely criticized dramatic drama in the real sense. Political judgments have recently come to an end, and real drama criticism seems to have not flourished yet. How many “typical figures” have been sealed in the critics’ booklet and how many are still alive on the stage? The criticisms that outspokenly raise questions and painstakingly search for the law of art are mostly in the literature and film industry; Even the authoritative meaning