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有一种说法,认为戏剧理论与戏剧创作是兴衰同步、并行不悖的,即创作繁荣,理论必发展;创作不景气,理论则落后。按照这个观点,目前戏剧创作不景气,戏剧理论也就萧条无疑了。情况是否如此,让我们看看古今中外戏剧发展的事实吧。从欧洲的戏剧发展看,文艺复兴时期的创作是很繁荣的,最突出的是出现了英国的莎士比亚和西班牙的维迦两颗巨星。他们的剧本数量多、质量高,产生了世界性的影响。但当时的理论研究,却是相当贫乏的,与古希腊、罗马无法比拟,较之十七世纪的古典主义戏剧也为逊色。当时除了散见于莎士比亚的剧本和塞万提斯的《堂·吉诃德》一书的一些理论见解,及维迦的一篇《当代编剧技巧》的论文外,几
There is a saying that the theory of drama and drama is the rise and fall simultaneously, go hand in hand, that is, creative prosperity, the theory will develop; creative depression, the theory is backward. According to this view, at present the dramatic writing is in a downturn, and the theory of drama is no doubt. If that is the case, let us look at the fact that the theater has been developed at all times and in all countries. Judging from the dramatic development in Europe, the Renaissance creation was very prosperous, with the most prominent being the emergence of two superstars of Shakespeare in Britain and Vijay in Spain. Their large number of scripts, high quality, has had a worldwide impact. However, the theoretical research at that time was rather poor, unmatched by ancient Greece and Rome and inferior to the classic theater of the seventeenth century. In addition to a number of theoretical insights scattered throughout Shakespeare’s script and Cervantes’s Don Quixote, and a treatise by Wittgenstein on contemporary screenwriting techniques,