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在新的历史条件下,话剧如何发展,这是一个全国关注的问题。有责任心的艺术家们在思索、在探求。他们一方面学习和借鉴民族戏曲和国外现代戏剧的美学原则和手法,在全国范围内创造出一大批演出样式令人耳目一新的剧目:另一方面,他们以开拓者的姿态,对现行剧团体制的不合理部分大胆加以改革。应当说,这些探索是可贵的,有成效的。但同时人们也看到,面对话剧观众大量流失的现状,所有这些努力并未起到力挽狂澜的作用,话剧的上座率没有明显的回升,令人尴尬的局面仍在持续。原因何在呢?这不能不促使人们从戏剧观念的其他方面,作更深入的研究。我们认为,无论是演剧样式的翻新还是剧团体制的改革,其直接目的都在于提高剧场舞台艺术的水平,期待以高质量的剧目来吸引观众。然而,要创造一个
In the new historical conditions, how to develop drama, which is a national concern. Responsible artists are thinking, searching. On the one hand, they learn and draw on the aesthetic principles and practices of national drama and foreign modern drama, creating a refreshing repertoire of performances throughout the country: on the other hand, they take the pioneer’s attitude toward the current theater system Unreasonable part bold reform. It should be said that these explorations are valuable and productive. At the same time, people also realized that in the face of the drastic loss of the audience of drama, all these efforts did not turn the tide, and the attendance of the drama did not pick up obviously. The embarrassing situation is still continuing. The reason why? This can not but prompt people from other aspects of the concept of drama for more in-depth study. In our opinion, both the renovation of the theater style and the reform of the troupe system are aimed directly at improving the stage art of the theater and are expected to attract the audience with high quality repertoire. However, to create one