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从现在起到本世纪末,无疑是我国话剧由“传统型”向“现代型”转换的关键时期。我国的话剧,自引进以来已有近百年历史,已经形成了自己的传统。五十年代下半时期至六十年代初期,大戏剧家焦菊隐和黄佐临曾一度进行过话剧革新,试图突破这个传统。这可以说是我国话剧由“传统型”向“现代型”转换的始发期。但由于当时的历史条件和社会原因,致使这一“转型”未能形成全国性的气候。八十年代初,情形有了大变。各行各业都在改革开放和向四个“现代化”进军的热潮中迎来了新的“转型”期。作为文化艺术之一种的话剧,在中断了二十年左右之后,这一“转型”又重新拾起。短短几年,革新浪潮席卷全国,及至
From now till the end of this century, it is undoubtedly a crucial period for the transformation of Chinese drama from “traditional” to “modern”. Since the introduction of the drama in our country, it has been nearly a hundred years of history and has formed its own tradition. From the second half of the fifties to the early l960s, great dramatists Jiao Juyin and Huang Zuolin once made dramatic reformation in an attempt to break through this tradition. This can be said that the drama of our country from the “traditional” to “modern” conversion of the initial period. However, due to the historical conditions and social reasons of that time, this “transition” failed to form a national climate. The early eighties, the situation has changed dramatically. All walks of life have usher in a new period of “transformation” in the ups and downs of reform and opening up and the march toward the four “modernizations.” As a kind of drama of culture and art, after being suspended for about 20 years, this “transformation” has been picked up again. In just a few years, the tide of innovation swept the country and arrived