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当20世纪逐渐化为背影离我们而去的时候,我们不仅感受到了这份世纪文化遗产的宝贵,同时也感受到了来自实践与理论两个方面的世纪性困扰。诚然,任何一种理论研究都不仅仅是(也不应是)为了标新立异;但当某种思维已成定势的时候,我们希望随着人类视野的拓宽和视点的改变,会不断有新的发现。为此,本年度我们开辟了“第三只眼看戏剧”这一栏目,意在呼唤那些有价值的理论发现和有独到见解的一家之言,哪怕这些文字只是在某一点上能走进前人足迹未到的地方。
As the twentieth century turned to be a back from us, we not only felt the preciousness of this century’s cultural heritage, but also felt the century-old troubles from two aspects of practice and theory. It is true that any kind of theoretical research is not (nor should it be) intended to be new; however, when certain kinds of thinking have become established, we hope that as humankind’s vision broadens and its perspective changes, new Find. For this reason, this year we opened up a section called “The Third Eye on Theater,” aiming to call on those valuable theoretical discoveries and original ideas even if the texts were not reached at one point The place.