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20世纪末,中国戏曲被一种浓厚的意绪环绕着,这就是世纪初“五四”以来的文化话语。也就是说,20世纪初文化启蒙先驱者提出的若干话题,穿越了近百年沧桑岁月,依然为世纪末戏曲所津津乐道,并被后者在舞台上不断予以情节化复制和符码化演绎。由此,一道奇特又惹眼的景观便在当下中国剧坛凸现出来,让我们不能不关注和思考。在由50周年国庆、澳门回归等盛大活动装点出的庄重背景下,’99神州舞台格外热火朝天,好些投入重呼声高影响大的剧作,即以某种非偶然的趋同性为我们提供了明证。对此,圈内明眼人士有目共睹且自有所感,以至2000年一开年,沪上就有戏剧刊物载
At the end of the 20th century, Chinese opera was surrounded by a strong mood, which is the cultural discourse since the May 4th Movement of the early 20th century. That is to say, a number of topics raised by early pioneers of cultural enlightenment in the early twentieth century passed through the vicissitudes of the past 100 years and are still relishing stories for the drama of the late centuries. They are constantly being copied and coded by the latter on the stage. As a result, a peculiar and eye-catching landscape will emerge in the contemporary Chinese theater, so that we can not but pay attention and thinking. Under the dignified background of grand events such as the 50th anniversary of National Day reunification and the return of Macao, the ’99 stage of the state of Shenzhou is particularly hot. Better to put on a drama that is highly influential in re-calling, that is to say, we provide a clear evidence of some non-accidental convergence . In this regard, the circle of bright-eyed people have their own eyes and feel for themselves, as well as the first year in 2000, there are drama publications in Shanghai