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一、引言真正的戏剧批评究竟应该如何?相对于剧场观众的众声喧哗而言,戏剧批评似乎不应该只是一种言人人殊的感性的言说,而应该是一种理性的分析和讨论。它既应该包含着对戏剧文本现象的深刻的感悟,更应该体现为某种精神尺度下的合理与中肯的评价。如果这种理解还不算言过其实的话,那么,接下来的问题便是:戏剧批评的言说者究竟是谁?谁最有资格来“批评”戏剧?换言之,在具体的戏剧文本对象面前,谁最有资格对其
I. INTRODUCTION What should be the true criticism of drama? As opposed to the noisome noises of the theater audience, dramatic criticism should not seem to be merely a kind of perceptual speech of perverse but rather a rational analysis and discussion. It should not only contain the profound insights into the phenomenon of dramatic texts, but also reflect the reasonableness and fairness of some kind of mental scale. If this understanding is not too exaggerated, then the next question is: Who is the speaker of dramatic criticism and who is most qualified to criticize the drama? In other words, in front of specific text objects of drama, Who is the most qualified to it