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中国当代先锋戏剧语言,从80年代的繁荣到90年代的衰落与变形。这个现象背后除了创作自身不景气之外,西方现代理论和戏剧观念的对剧本文学的贬低、对文字意义的消解,以及当代中国社会的市场化、商品化带来的视图化也都是影响因素。中国先锋戏剧80、90年代的裂变,是先锋戏剧脱离政治、主流话语后,追逐自我艺术家园的过程,裂变带来语言娱乐化、狂欢化、庸俗化、游戏化以及受贬低现象,是彻底告别启蒙主义、消解启蒙意识,坠入到无意义的“玩”的倾向的表现。先锋戏剧能够对语言、动作,对现实主义、浪漫正义、现代主义的态度更加兼容并包,择善从之,形成多元多彩的先锋戏剧格局,才是对先锋戏剧、对戏剧更有利的事情。
The contemporary Chinese avant-garde drama language, from the prosperity of the 80s to the decline and deformation of the 90s. Behind this phenomenon in addition to writing its own downturn, Western modern theory and drama concept of the play on the literature derogatory, the digestion of the meaning of the text, as well as the contemporary Chinese society of the market, the commercialization of the view are also affected factors . The fission in the pioneering 80s and the 90s in China is the farewell of the vanguard drama after the avant-garde drama broke away from politics and the mainstream discourse and pursued the process of self-artist garden. Fission brought the amusement, carnivalization, vulgarization, gamification and devaluation of the language. Enlightenment, digestion enlightenment consciousness, fall into the meaningless “play ” the tendency of performance. Avant-garde plays a more vanguard role in drama and play for avant-garde theater, because it can be more compatible with language, action, realism, romantic justice and modernism.