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中国戏剧的伟大与辉煌仿佛只存在于历史记忆之中。二十世纪八十年代中后期,“危机”就已经成为人们讨论中国戏剧现状与未来时最常用的一个词汇。不同人对“危机”的认知与感受是不一样的,有关“危机”的原因、性质、程度及解决之道,更是众说纷纭。我就是在这样的背景下开始从事戏剧研究的;戏剧的现状和危机,业内外人士与此相关的描述、分析以及提供的种种对策,就成为激发我思考与研究中国戏剧发展的重要且持续的动力,并且成为我在思考民族文化遗产时所持立场的基础。
The great and brilliant Chinese drama seems to exist only in the historical memory. In the mid-to-late 1980s, “crisis” has become the most commonly used term for people to discuss the status quo and future of Chinese drama. Different people have different perceptions and feelings about “Crisis ”. The reason, nature, degree and solution of “Crisis ” are even more different. It is against this background that I began to engage in drama studies. The current situation and crisis of drama, the description, analysis and measures provided by those inside and outside the industry have become important and continuing to inspire me to think and study the development of Chinese drama. Motivated, and has served as the basis for my position in thinking about the national cultural heritage.