国家神话的延续——从《屈原》的当代解读说开去

• 作 者: 陈志军
• 出 处: 戏剧文学
• 发表日期: 2001年05期
• 关键词: 《屈原》 高行健 荒诞派 传统戏曲 林兆华 朱晓平 徐晓钟 布莱希特 中国梦 思想解放

一思想界常常把80年代称之为第二次思想解放运动,这一时期文学艺术得以蓬勃地发展,戏剧也取得了相对不小的成就。首先是戏剧形式的不断革新,突破了斯坦尼斯拉夫斯基体系,大胆借鉴了各种表现手法如传统戏曲手法、布莱希特的间离手法及贝克特等人的荒诞派手法等(如孙惠柱等编剧、黄佐临导演的《中国梦》,高行健编剧、林兆华导演的《车站》)。其次是戏剧思想内涵的不断深化,人,特别是小人物的重新被发现,赋予了戏剧艺术一种博大苍凉、绝望悲哀的美学风韵(如朱晓平等编剧、徐晓钟导演的《桑树坪纪事》,

An ideological world often called the 1980s the second movement for ideological liberation. During this period, literature and art flourished. Drama has also made relatively small achievements. The first is the continuous reform of the dramatic form, breaking through the Stanislavsky system, boldly borrowing various expressions such as traditional operas, Brecht’s absurd approach and Beckett’s absurdist techniques (eg, Sun Huizhu et al. Screenwriter, director Huang Zuolin’s “China Dream”, Gao Xingjian screenwriter, director Lin Zhaohua “station”). Secondly, the deepening of the connotation of drama thought, the re-discovery of people, especially the little ones, gives the drama art an aesthetically pleasing aesthetics (such as Zhu Shaping scriptwriter and director Xu Xiaochong’s “Sangshuping Chronicle”