新时期以来,中国的儿童戏剧从内容到形式发生了 深刻的变化。2002年上海从3月份至6月份举办了第四届儿童剧展演活动,有10多个省市、16台剧目参演。考察这些剧目的创作、演出实践,我们从一个侧面看到了儿童剧以多种角度与多种方式反映生活的可能性。 本届参演剧目,显示了儿童剧创作在以下三个方面的变化。 首先是观念的更新 在早些时候儿童剧创作在观念上受文艺界大气候的影响,曾经有过不少似是而非的条条框框。比如,儿童剧当中正面的儿童形象,几乎一律是安分守纪,成绩优良,对老师和家长的训示唯命是从的“好孩子”;而那些善于独立思考,敢于发表与众人不同见解,因而常令教育者感到头痛的学生,往往被刻划成对立面形象。当时社会上种种带有偏见的观念,都或直接或曲折地在儿童剧创作中反映了出来。 Since the beginning of the new era, there has been a profound change in the content and form of children’s drama in China. In 2002, Shanghai held the fourth children’s play show from March to June, featuring more than 10 provinces and cities and 16 repertoire performances. Examining the creation and performance of these plays, we can see from one aspect that the children’s play reflects the possibility of life in many ways and in various ways. The participating repertoire, shows the children’s play in the following three changes. The first is the update of concept Earlier, the creation of children’s play was influenced by the climate of literary and art circles in concept. There have been many paradoxes. For example, positive child images among children’s plays are almost always “good kids” with good grades and good grades, and their dedication to teachers and parents. However, those who are good at thinking independently and are willing to make different opinions, As a result, students who often feel the headaches of educators are often delineated as the opposite image. At that time, all kinds of prejudiced ideas in society were either directly or torturously reflected in the creation of children’s play.