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80年代初,是新加坡华语剧场新阶段的开始。在这之前,现实主义作为主导思潮,明显地展示了英国文化评论家芮门·威廉斯(Raymond Williams)所界定的是一种艺术的方法(method)与态度(attitude)两方面的特征(Williams,1988:259)。就方法而言,斯坦尼斯拉夫斯基的演剧法被奉为典范;就态度而言,其源头是“五四”以来夏志清所谓的“感时忧国”精神的表现。而60年代以后则进一步受到中国大陆社会主义意识形态的影响。与“五四”初期和30年代的革命文学相似,新加坡华语剧场的现实主义是一种有意识的选择,因为那时的戏剧工作者具有一种集
The early 1980s is the beginning of a new phase of the Chinese theater in Singapore. Prior to this, realism, as the dominant trend, clearly demonstrated that the British cultural critic Raymond Williams defines both artistic method and attitude , 1988: 259). In terms of method, Stanislavsky’s acting method is regarded as a model; in terms of his attitude, his source is the expression of Xia Zhiqing’s so-called “sense of time and worry about the country” since the May Fourth Movement. After the 1960s, however, it was further influenced by the socialist ideology in mainland China. Similar to the revolutionary literature of the May Fourth Movement and the 1930s, the realism of the Singapore Chinese Theater is a conscious choice because at that time the theater workers had a set of