论文部分内容阅读
近两、三年,我们戏剧界经历着一种不同寻常的变化: 观众上座率的普遍下降,引起了实践者的极大苦恼与困惑。搞话剧的为改变这种形势,力求跳出“写实”的旧格局,想从戏曲那里获得诗意和更多的舞台自由。拥有辉煌历程的戏曲也不甘心从昔日艺坛霸主的地位上趺下去,于是,力图摆脱传统的窠臼,想从其它剧种其它艺术那里借来一些艺术手法,以充实自己。这样,在戏剧舞台上,出现了一种新的面貌。实践者的探索、试验、创新,激起了人们的理性思考:当前学术界展开的一场关于现代文化与传统文化的争鸣、探讨,更为戏剧理论工作者增添了新的活跃。各种搞法竞相展开,各种思潮汹涌而来。在这个时候,似乎没有一个权威人士能站出来对此一一作
In the last two or three years, our theater industry has undergone an unusual change: the general decline in audience attendance has caused great distress and perplexity to practitioners. In order to change this situation, we must strive to get out of the old fashioned “realism” and want to acquire poetic and more stage freedom from the drama. Having a glorious history, the opera is not willing to go down from its position as the overlord of the arts. So, it tries hard to get rid of the traditional stereotypes and borrow some artistic techniques from other arts to enrich themselves. In this way, on the theater stage, a new look appeared. The exploration, experiment and innovation of practitioners have aroused people’s rational thinking: a debate on modern culture and traditional culture in current academic circles has added new vigor to theorists of drama theory. A variety of ways to start competing, all kinds of thoughts surging. At this moment, it seems that no single authoritative individual can stand up and work on it