论文部分内容阅读
20世纪90年代以来,中国戏剧舞台上虽然偶有新的火花闪耀,叫人看到一线生机,但总体的状态仍不出两个字:失魂!记得1997年戏剧界在北京聚会,纪念话剧90周年,会上有一位戏剧家呼吁:“回到曹禺!”那意思当然是回到创作《雷雨》、《日出》、《原野》、《北京人》的曹禺,而不是回到1949年之后的曹禺,因为后者不过是一个失魂的戏剧家。曹禺的失魂,可以视为中国当代戏剧失魂的一个代表。这一点,可以从不久前出版的《苦闷的灵魂——曹禺访谈录》①中读到许多生动的例证。尽管人们曾热烈欢呼过新世纪的到来,把许多新的期望都寄托在
Since the 90s of the 20th century, although there are occasionally new sparks shining on the stage of Chinese drama, people can see a glimpse of their life, but the overall state still does not have two words: Lost Souls! I remember that in 1997, the theater industry gathered in Beijing to commemorate the drama 90th anniversary, there was a dramatist called: “back to Cao Yu!” That meaning of course is to go back to writing “Thunderstorm”, “sunrise”, “wilderness”, “Beijing” Cao Yu, rather than back to 1949 After Cao Yu, because the latter is just a lost drama. Cao Yu’s loss of soul can be regarded as a representative of the loss of Chinese contemporary drama. This point can be read from the recent publication of “Depressed Soul - An Interview with Cao Yu” ① to read many vivid examples. Although people have warmly cheered the arrival of the new century, many new expectations have been pinpointed