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这些年,戏剧作品的寿命越来越短。剧作家花费巨大精力写出来的剧本往往演出几场就没人看了;有的戏刚演出时也曾热闹一番,评论界也兴奋地以“开创性”、“里程碑”大加赞誉,但随着“轰动效应”的减弱,这些戏也很快失去了光彩,并没有为观众留下多么难以忘怀的印象。这种普遍的昙花一现的现象说明了什么?是否仅仅因为我们的剧作家还缺少象郭、老、曹那样的大手笔?究竟如何才能改变剧本创作的“短命”状况?我以为要解释这些问题恐怕并不是一件容易的事,因为它要涉及到诸如创作观
In these years, the life of drama has been getting shorter and shorter. Playwrights spend a lot of energy to write out the script often performed a few games no one saw; some drama has also performed lively when the critics are excited to “groundbreaking”, “milestone” greatly acclaimed, but As the “sensationalism” weakened, these plays also quickly lost their luster and did not leave unforgettable impressions for the audience. This general phenomenon of short-lived shows what? Is it just because our dramatists are still lacking like Guo, Lao, Cao that generous? How to change the “short-lived” situation of the script writing? I think I am afraid to explain these issues and It is not an easy task, because it involves such concepts as creation