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文化人戏剧的出路在哪里陈可汉在《戏剧艺术》一九九○年第三期发表同题文章。作者认为:东方和西方的文化人戏剧家们所精心构置的戏剧作品,正在日益失去众多的参与者和观众,而另一些由非文化人所创作的通俗剧目和剧种(如中国地方戏曲、方言剧、西方二十世纪崛起的轻歌舞剧等)却日益吸引了众多的观众和参与者。戏剧理论和批评的导向,似乎紧跟着当代世界文化思潮,这是无可厚非的。但创作,龙其是戏剧创作,却不能在这种导向中一面步入“蔚蓝色”的天空之中,另一面又钻进“浑黄色”的故纸堆里,恰恰空出了现实生活多彩而丰满的一段,致使几乎全社会的普通脑
Where is the Way Out for the Cultural Man Theater? Chen Kehan published the same article in the third issue of Drama Arts in 1990. The author argues that the well-constructed drama productions of the writers of Eastern and Western cultures are increasingly losing many participants and audiences while other non-cultural personalities and genres (such as Chinese local opera, Dialect drama, the rise of western twentieth Century light show, etc.) has increasingly attracted a large audience and participants. The orientation of drama theory and criticism seems to follow closely the cultural currents of thought in the contemporary world. This is understandable. However, the creation of the dragon is a drama creation, but can not be in such a direction into the “blue” sky, and the other side into the “muddy yellow” paper so heap, just vacated the real life colorful and full A period, resulting in almost ordinary society’s ordinary brain