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20世纪90年代以来,随着市场经济的发展和大众文化的兴起,人们的价值观念、生活方式等都发生了深刻的变化。许多传统艺术的功能和角色都经历了,有的还正在经历着复杂而痛苦的转型,多元化的文化生态格局已经基本形成。话剧作为一种从国外引进的艺术样式,在这个转型过程中出现了严重的生存危机。人们也一直在探讨戏剧危机出现的原因,提出种种发展方案,希望重新振兴戏剧艺术;但直到现在,戏剧市场冷清的局面似乎并未有多大的好转。当代戏剧出现危机的原因很多,其中之一便是戏剧没有处理好与政治及商业的关系,戏剧在某种程度上成了政治与商业的奴仆。戏剧在处理自己与政治及商业的关系时,只有不丧失自己的主体性,才有希望摆脱生存危机。
Since the 1990s, with the development of market economy and popular culture, profound changes have taken place in values, lifestyles and so on. Many traditional arts have experienced their functions and roles, some are still experiencing complicated and painful transformations, and a diversified cultural ecology has basically taken shape. As a kind of art style introduced from abroad, drama has experienced a serious crisis of survival in this transition. People have also been discussing the reasons for the emergence of the drama crisis, proposing all kinds of development plans and hoping to rejuvenate drama art. However, the desertification of the drama market does not seem to have improved much until now. There are many reasons for the crisis in contemporary drama. One of the reasons is that drama has not dealt with political and commercial relations. Drama has to some extent become a servant of politics and commerce. When dealing with the relationship between politics and commerce, drama can only get rid of the crisis of survival if it does not lose its subjectivity.