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在杨利民的戏剧创作中,始终着重表现的是荒野与人的主题。本文描绘了杨利民戏剧形象的总貌及其内涵,指出在其形象系列中,主要表现了人的两种生存方式:一是自然、坦荡与大荒原的本性血脉相通的人生;二是在种种制约机制的作用下所形成的虚伪造作与荒原本性相悖离的人生。透过形象的表层,显现着剧作家对社会人生的深刻感悟。他对于人与荒野之关系的思索以及对于意念中天人合一境界的求索,隐含了剧作家的诗意色彩和美学倾向。其立意于人,从真实出发,审视人生的创作观,从根本上保证了其创作思维的包容性,也保证了其形象意味的普遍性。
In Yang Limin’s drama creation, the theme of wilderness and man is always emphasized. This paper depicts the general appearance and connotation of the drama image of Yang Limin and points out that in his series of images, he mainly expresses two kinds of human existence modes: one is the life of nature, magnanimousness and the nature of the Great Wilderness; the other is the restriction of various restrictions The formation of hypocrisy under the action of the mechanism and the wilderness of nature contrary to life. Through the image of the surface, showing the playwright profound understanding of social life. His contemplation on the relationship between man and the wilderness and the search for the state of heaven and man in his mind imply the poetic and aesthetic tendency of the dramatist. Its intention to people, from the reality, look at the creative concept of life, fundamentally guaranteed the inclusiveness of creative thinking, but also to ensure the universality of its image meaning.