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《中国戏剧》2002年第12期发表了魏明伦先生《当代戏剧之命运》,和《关于(当代戏剧之命运)的几点补充》,并加了编者按,“希望能就此广泛展开讨论,从而有助于戏剧的健康发展。”我认为是一件值得称道的事,如果这场讨论能深入开展下去,有可能理清对戏剧现状的模糊认识。 首先我同意魏明伦先生的以下观点:一、戏剧有商品属性,但它不是赚钱的艺术,或者说不是赚大钱的艺术。作为戏剧人,一定要具有市场意识,增强自身的造血功能。但目前呼声甚高的所谓“断奶”,或分期分批“断奶”,我认为是不切合实际的。戏剧永远需要财政和社会资助,一旦“断奶”,戏剧的末日就即将到来。而一个没有戏剧的国
The 12th issue of “Chinese Drama” published in December 12th of Wei Minglun’s “The Fate of Contemporary Drama” and “Some Supplements on the Fate of Contemporary Drama” and added an editor’s note. “Hopefully, extensive discussions will be held so that Contribute to the healthy development of theater. ”I think it is a commendable thing, if this discussion can go further, it is possible to sort out the fuzzy understanding of the status quo of the drama. First of all, I agree with Mr. Wei Minglun’s view: First, drama has the attributes of goods, but it is not the art of making money, or the art of not making big money. As a dramatic person, we must have market awareness and enhance our own hematopoietic function. However, the so-called “weaning”, which is still very vociferous, or the “weaning” in batches, I think is not realistic. Drama always needs financial and social support, and once weaned, the doomsday of the drama is imminent. And a country without drama