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在人类文明进程中,与所有艺术一样,戏剧使人不断寻回自我生命本体,张扬生命的激情与活力,实现精神解放。而戏剧精神是健全的民族对其精神品格的关怀与守护,戏剧家将这种精神转化为艺术实践,并经由剧场传递着精神。对于健全的民族和社会来说,这种精神至关重要。本文以人与精神为切入点,考察并分析中国当代话剧对人类精神的守护及其迂回的发展进程;重点阐释1980年代话剧在精神寻求中的三个阶段:在政治诉求中对解放的乌托邦幻想及其精神困境、在艺术探索中寻求精神解脱之路、在文化反思中回归精神主体与生命本体,以及1990年代后中国话剧在多元发展中戏剧精神的坚守及其限度。
In the course of human civilization, as with all arts, drama continually reclaims the body of self-life, publicizes the passion and vitality of life, and achieves spiritual liberation. The drama spirit is the care and guardianship of a sound nation for its spiritual character. The dramatist transforms this spirit into artistic practice and transmits the spirit through the theater. This spirit is crucial for a healthy nation and society. This article takes human and spirit as starting points, examines and analyzes the guardianship of the human spirit in Chinese contemporary drama and the development of its roundabout way, and focuses on the three phases of drama in the 1980s: the utopian fantasy of liberation in political appeal And its spiritual predicament, seeking spiritual relief in art exploration, returning to the main body of spirit and body of life in cultural reflection, and the persistence and limits of theatrical drama in the pluralistic development of Chinese drama after the 1990s.