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扑面而来的一个问题,就是中西喜剧(包括创作和理论)起步都早;为什么,后来形成两种不同景象:西方占代喜剧发展,好像大江两岸的森林,虽有断带,但总的说来却是亘亘相连,一以贯之;而我国古代喜剧发展,犹如大江中的绿洲,虽然郁郁葱葱;但却像断线的珠玑。 喜剧诞生、兴起、发展、繁荣不是一种孤立的文艺现象,它与一定的社会制度和社会生活血肉相连。古希腊是一种奴隶主民主制社会,在那个社会里,由奴隶主领导的公民代表大会决定国家大事。与我国古代社会相比,具有较多的民主、自由。而且奴隶主很重视戏剧的宣传教育活动,不仅设置露天剧场,还倡导比赛。因而涌现出众多的喜剧剧目和专门从事喜剧创作的剧作家。
One of the problems that comes with us is that both Chinese and Western comedy (including writing and theory) started early; why, then, two different spectacles emerged: the development of western comic comedies, as if the forests on both sides of the river were broken, but in general But it is connected, a consistent; and the development of ancient Chinese comedy, like the oasis in the Grand River, though lush; but like broken beads. The birth, rise, development and prosperity of comedies are not isolated literary phenomena. They are connected with a certain social system and social life. Ancient Greece was a society of slave-owners and democracies, in which the civic congress, led by slave-owners, decided on major national affairs. Compared with our ancient society, we have more democracy and freedom. Moreover, the slave owners attach great importance to the drama publicity and education activities, not only setting up the amphitheater, but also promoting the competition. As a result, a great number of comedy repertory and theater writers specializing in comedy creation emerged.