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1978至1988十年间,中国戏剧发生了一次质的变化。这就是幻觉式戏剧一统天下的局面被打破,戏剧艺术的假定性本质在理论和实践上进一步被人们所肯定。以表演为中心的戏剧逐渐向以导演为中心的戏剧转移。后一种样态的戏剧,推出了一大批令人耳目一新的作品,造就了一大批现代戏剧导演。然而在此之后,我们很快就遇到了一个新的课题:如何摆脱模仿式的借鉴,如何摆脱对我们来说是新鲜的但对世界来说却并不新鲜的假定性戏剧模式,从而使对假定性的形式探索,进入深层次的戏剧本体研究的新的富有民
From 1978 to 1988, there was a qualitative change in Chinese drama. This is the illusion of drama dominated the world situation is broken, the presumptive nature of theatrical art in theory and practice has been further confirmed. Performance-centric plays gradually shift to directors-centered plays. The latter form of drama, launched a large number of refreshing works, created a large number of modern theater directors. After that, however, we soon encountered a new topic: how to get rid of imitative references and how to get rid of the hypothetical drama that is new to us but not new to the world, The hypothetical form of exploration, into the deeper study of theatrical new rich people