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说一句公道话,话剧由西方“进口”来到中国而成为“文明戏”,对于中国人来讲,这不能不说是文化欣赏的一次幸运。不过,如果我们从话剧自身的角度来考虑,那么,象“幸运”之类的话就会很难讲得出口了。进入八十年代以后,随着国家文化体制的改革,国家包办文化状况的改变,中国话剧不得已走进了面对观众、面对票房价值的现实场景。在观众锐减,票房坍塌,新剧目无从排演,剧团生计困难的紧张现实面前,一直自我感觉良好的中国话剧才第一次发现,自己所面临的危机是如此的深刻。于是,
To be fair, drama from the West “imported” came to China and become “civilized drama”, for Chinese, this can not be said to be a lucky cultural appreciation. However, if we consider it from the point of view of the drama itself, words like “fortunate” can hardly be exported. Since the 1980s, with the reform of the national cultural system and the change of the cultural status of the state, China’s drama has to resort to the realistic scene of facing the audience and the box office value. In the face of the drastic reduction of audiences, the collapse of the box office, the lack of rehearsal of new repertoire and the troublesome realities of the troupe’s livelihood, Chinese opera, which has always felt good about itself, first discovered that the crisis it faced was so profound. then,