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如果说1988年暮春三月之际,北京人艺来沪演出,曾激起上海文艺界对话剧事业的激情与思考;那么89年4月在南京举行的全国话剧小剧场戏剧节的演出,则又一次引起了文艺界、戏剧界的思考及兴奋。虽然参加演出的剧目,未必都是上乘之作,也不一定均具有实验价值,但它却赢得了观众,为话剧事业的发展找到了一些新的出路。当然戏剧理论界意见的分歧是明显的。何谓小剧场话剧?仅是大剧场的缩小呢?还是应另有其独特之处?就目前中国的情况,小剧场戏剧是发展方向呢?还是聊备一格?有些同志认为根据现时我国的经济情况,小剧场艺术是一种奢侈品;另一些同志则认为小剧场戏剧大有可为,前途光明。究竟应当怎样看待?本期刊出几位同志的意见。我们希望有更多的同志参加讨论。
If the performance of Beijing folk art in Shanghai in the spring and spring of March 1988 has aroused the passion and thinking of the Shanghai literary and art circles on the cause of the dialogue drama, then the performance of the National Drama Theater Festival in Nanjing in April, 1989 Once again aroused the literary and art circles, the theater of thinking and excitement. Although the repertoire of the performances is not necessarily superior or experimental, it has won the audience and found some new outlets for the development of the drama industry. Of course, the disagreements between the theatrical theory circles are obvious. What is a small theater drama? Only the theater to narrow it? Or should there be another unique? In the current situation in China, is the development of small theater or theater? Or chatting? Some comrades that according to the current economy of our country The situation is that small theater art is a luxury; others think there is a lot to be done in the theater and the future is bright. What exactly should be treated? This issue contains the opinions of several comrades. We hope more comrades will participate in the discussion.