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当年我第一次踏上枫叶之国的土地,年轻而活跃的加拿大戏剧就给我留下过深刻的印象。后来我有幸将《纪念碑》介绍给中国戏剧观众,我们一起分享了第一部加拿大戏剧登陆中国的喜悦。进入新世纪,再到加拿大,我看到的加拿大戏剧,越发显出了勃勃生机。 作为年轻的移民国家,加拿大结束其英属殖民地的地位不过几十年。独立以前,加拿大的文化艺术大都被认为是属于英国人或者法国人的,戏剧亦不例外。独立后的加拿大多种民族共处,多种文化并存,又靠近美国这个文化输出大国,加拿大人越发渴望拥有属于自己的文化定义和艺术特质。真正意义的加拿大戏剧由此产生。自上个世纪五六十年代至今,加拿大戏剧艺术家经过了40年不懈的尝试探索,加拿大戏剧在高速发展、急剧衰落、再创繁华的曲折过程中走向了成熟。
When I first set foot on the land of Maple Leaf Country, the young and active Canadian drama left a deep impression on me. Later, I was fortunate to introduce the Monument to Chinese theater audiences. We shared the joy of landing the first Canadian drama in China. Into the new century, to Canada, I saw the Canadian drama, more and more demonstrated vitality. As a young immigrant country, Canada has lived its British colony for decades. Before independence, most of Canadian culture and arts were considered British or French, and theater was no exception. After independence, the various nationalities in Canada coexist and their cultures coexist. As they move closer to the United States as a cultural exporting country, Canadians are increasingly eager to have their own cultural definitions and artistic qualities. The real Canadian drama is the result. Since the fifties and sixties of the last century up to now, Canadian theater artists have made 40 years of unremitting efforts to explore. Canadian drama has matured in the course of its rapid development, rapid decline and rejuvenation.