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几年来,由于我们排演了歌舞色彩较重的《搭错车》、《走出死谷》与《喧闹的夏天》,也由于这几台戏赢得了几百万的观众,中国的戏剧界对我们的演剧实践给予了很大的关切和注目。时至今日,谁都明白,不解决观众问题,既谈不上体现戏剧的生存价值,更谈不到解决日渐深重的戏剧危机。在这方面,我们经历了艰难而痛苦的思辨,走过了焦灼惶惑而又令人快慰的路程。一几乎是从感觉到戏剧危机之日起我们就在谈论观众;也几乎是意识到观众日渐减少的时候我们才感觉到和承认了戏剧危机。危机的表层意义和深层内涵的判定都紧系两个字:观众。我们曾在过去许多年里占有过观众,又在这些年里失去了观众。我们没变,而观众变了。那么,在改革开放百废俱兴的八十年代,
In the past few years, due to the rehearsals of “take the wrong car”, “out of the dead valley” and “noisy summer” with heavy singing and dancing, we also won millions of viewers because of these few plays. Drama has given great concern and attention. To this day, no one understands that if we do not solve the problem of the audience, we can neither talk about the survival value of the drama nor the dramatic crisis of deepening drama. In this regard, we have experienced difficult and painful speculation and we have traveled with anxiety and comfort. We talked about the audience almost as soon as we were aware of the dramatic crisis, and we almost felt and recognized the drama crisis when we were almost aware of the diminishing audience. The superficial meaning of the crisis and the determination of deep connotation are closely linked to two words: the audience. We have had an audience for many years in the past, again losing audience in these years. We have not changed, but the audience has changed. So, in the eighties of the hundred years of reform and opening up,