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1981年末,赵东菊(笔名罗辑)完成了他的处女作四幕话剧《春天的后面不是秋》(发在《当代》1982年第五期上,后来长春话剧院以《请与我同行》的剧名首演)。以后十年来又写了四出戏,除《月亮月亮升起来》眼下看不到外,其余的三出戏不仅发表,并都在舞台上与广大观众见了面。从数量上看虽不算多,但是这四出戏,一出一个面貌,每一出都显示出强烈的探索愿望,都是探索的成果。看得出,他是在不断否定之否定中走着自己的创作之路,从而显示出他自身的特殊价值。一下面我们首先对这四部剧作做一点简略的分析: 《春天的后面不是秋》是一部正统的现实
At the end of 1981, Zhao Dongju (pen name Luo Ji) completed his debut drama “The Back of Spring Is Not Autumn” (made in “Contemporary”, the fifth issue of 1982, and later the Changchun Theater First name). In the next ten years, four more plays were written. Except for the moment when the “Moon and Moon Rise” can not be seen at present, the remaining three plays are not only published, but also all met on stage with the audience. Although not many in terms of quantity, these four plays, one by one appearance, each showing a strong desire to explore are the fruits of exploration. Can see that he is in the negative negation of his own creative path, showing his own special value. Here we first make a brief analysis of the four dramas: “Spring is not autumn behind” is an orthodox reality