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近些年来,随着舞台艺术实践的多样化探索,戏剧批评也呈现出繁荣的局面,对戏剧形态、导表演艺术、舞台美术、剧场演出以及观众的作用等等都有所触及,显示了一种全方位研究戏剧的趋向。但是,如果我们细致地推敲一下,仍然存在着一种失重的情况,某些文章名之为戏剧批评,却不是从戏剧的本体出发,甚至是脱离本体。结果出现的局面是:对戏剧文学研究的多,对舞台艺术研究的少,看重剧本创作,忽视剧场艺术,把作为系统工程的戏剧创作割裂开来、孤立起来,以致在戏剧批评中存在着非戏剧
In recent years, with the diversified exploration of the stage art practice, dramatic criticism has also shown a prosperous situation and has touched upon the form of theater, performing arts, stage art, theater performances and the role of the audience, A comprehensive study of the trend of drama. However, if we scrutinize it still, there is still a situation of weightlessness. Some of the articles are called dramatic criticisms, but not from the main body of the drama or even from the body. The result is that there are many researches on theatrical literature, less research on stage art, emphasis on script creation, neglect of theater art and isolation of drama creation as system engineering, drama