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“一剧之本,本于演出”,“戏剧的生命在于舞台”,这当然是指思想性艺术性和审美品位都较高的、因为上了舞台方才具有生命力否则便没有生命力的文学剧本。那些“不入格”的等而下之的文学剧本自然不在此列,因为它们本来就无生命力可言。既然被称为剧作家的文学剧本的作者只有依托被称为戏剧家的导演的投排方能成为剧作家,不然便属无效劳动,便亦“无家可归”,那么就是说,在戏剧这个舞台艺术中,剧本虽是“一剧之本”,然其处于中心地位者乃是戏剧家。不错,在中国的戏剧发展史中,确是先有戏剧演出后有文学剧本。且不
“The origin of a play, this performance,” “The life of drama lies on the stage” means, of course, both the ideological and aesthetic qualities because literary scripts that have only had their own vitality on the stage or have no vitality. Of course, those literary scripts that are “unqualified” are not included because they are inherently non-viable at all. Since writers of literary scripts known as dramatists can only become dramatists by relying on the cast of directors known as dramatists, they are ineffective and “homeless”, that is to say, in drama In this stage art, although the script is “a play of the”, but its central position is the dramatist. It is true that in the history of the development of Chinese drama, it is true that there is a literary script after theatrical performance. No