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三中全会以来,我们的戏剧创作就题材开阔、思想活跃而言,是建国三十多年来任何时期所不能比拟的。这几年出现了不少好作品,受到群众的赞扬。今年夏季以来,继《谁是强者》之后,话剧创作又进入一个新的活跃时期,仅以首都舞台来看,就是相当可观的,颇有百花争妍的势头。但是,我们也应看到话剧创作存在的问题。现在有些话剧不上座使不少戏剧工作者感到忧虑和烦恼。有人认为这是由于电视和电影的影响,有人则认为观众的水平下降了。但问题的症结究竟何在?这是很值得研究的问题。
Since the Third Plenary Session of the Third Plenary Session of the Chinese People’s Liberation Army, our drama creation has been unmatched by any given period of more than 30 years since the founding of the People’s Republic of China. In recent years there have been many good works, praised by the masses. Since the summer of this year, following the “Who is the Powerhouse,” drama has entered a new period of activity. Judging from the stage of the capital alone, it is quite impressive. There are quite a few hundred flowers in dispute. However, we should also see the existence of drama creation. Nowadays, some theatrical troupe are not worried about the troubles. Some people think this is due to the impact of television and movies, while others think the audience’s level has dropped. But what exactly is the crux of the problem? This is a question worth studying.