近年来,我国电视剧数量激增。虽然出现了一批令人瞩目的精品,但平庸之作仍占多数。这不能不引起人们的忧虑。也正是在此情况下,人们开始急切呼吁电视剧艺术理论的建设。的确,同美、苏、日本等国的编剧队伍相比,我国的电视剧编剧队伍,既谈不上专业化(就所受专业教育的程度而言),更谈不上学者化,当然也就缺乏基本的,重要的理论素质。这显然是影响创作质量的主要原因之一。然而,尽管这种理论的“危机感”日见紧迫——因为它与荧屏上作品的水平存在着微妙的联系,但可见到的理论研究成果却微乎其微。这中间的一个原因,恐怕还是在于人们对电视剧艺术本身的认识存在问题:电视剧该不该有属于自身的理论?电视剧是否已有了作为一门独立艺术应具备的自身美学规律?对此,人们的看法似乎尚未统一。比如,有人在报刊上撰文,认为电视剧把电影的一套理论拿来就足够用了,用不着有自己的美 In recent years, there has been a surge in the number of TV shows in our country. Although there are a number of remarkable boutique, but mediocre still accounted for the majority. This can not but cause people’s anxiety. It is also under such circumstances, people began to urge the construction of TV drama theory of art. Indeed, compared with screenwriters in the United States, the Soviet Union, Japan and other countries, the screenplay team in China can neither talk about specialization (in terms of the level of professional education), let alone scholarization, of course Lack of basic, important theoretical quality. This is obviously one of the main factors affecting the quality of creation. However, despite the “urgency” of the theory, which is becoming increasingly pressing - because of its subtle connection with the level of the work on the screen, little can be seen from theoretical research. One of the reasons for this middle is that people still have problems with their understanding of the art of TV drama itself: should there be no theory of their own in TV dramas? Or is there any own aesthetic law that should be available as an independent art? In this regard, people The view seems not yet unified. For example, someone who wrote an article in the press thought that a TV series would be enough to use a movie’s theory without using its own beauty