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近几年来,在各地话剧舞台上出现一批以情节取胜的新戏,它们搬演了三教九流的人物,离奇曲折的故事,五光十色的场面。它们的上座率高,特别受到青年观众的欢迎。它们产生了各种不容忽视的社会效果,包括有益的和散布低级庸俗情趣的。在评论界中,对这类作品的看法各异,评价悬殊;有关争议不仅涉及艺术的内部规律,而且与一定的文艺思想、社会思潮有内在的联系。因此,探讨一下情节剧创作中的问题,看来是有必要的。一、作为戏剧样式的情节剧对情节剧可作狭义的和广义的两种理解。作为一种戏剧样式,情节剧起源于十八世纪末叶的欧洲。早期的、狭义的情节剧,本来是指表现资产阶级家庭生活的感伤主义的“市民戏剧”,它是和佳构剧相通的。在其发展中,又分孽出色情戏和惊险型的侦探戏等等变种。现代西方的情节剧中盛行推理派的表现手法,产生了所谓“推理剧”,如此等等。但是
In recent years, a series of new plays that win with the plot appear on the stage of the drama around the country. They have played the roles of “Three Religions and Nine Diverse People,” twists and turns, colorful scenes. Their high attendance rates are especially welcome by young audiences. They produce a variety of social effects that can not be ignored, including profitable and diffuse vulgar vulgar tastes. In the critics, there are different opinions on these works and their appraisals are disproportionate. The related disputes not only relate to the internal laws of art, but also are intrinsically linked with certain literary thoughts and social thoughts. Therefore, it is necessary to explore the problems in the creation of melodramas. First, as a drama style melodrama melodrama can be narrow and broad sense of the two understandings. As a dramatic style, the melodrama originated in Europe at the end of the eighteenth century. The early narrower melodrama originally referred to the “civic drama” of sentimentalism that reflected the bourgeois family life. It was interlinked with good-natured drama. In its development, they also devoted themselves to excellent detective drama and thrilling detective plays. Modern western melodramas prevail in the way in which the inferenceist behaves, producing the so-called “reasoning drama,” and so on. but