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改革开放二十余年,经过当代戏剧家的艰苦拼搏、勇敢探索,凭心而论,戏曲确实有所振兴。从剧本到演出。从内容到形式,从发扬传统到紧跟新潮,从京津沪渝到南北省会,人才辈出,好戏连台。许多方面超越前人,有的方面超越影视。但为了争取观众,使尽千方百计,却仍然改变不了门前冷落的尴尬,与台上热闹形成反讽式对照。这种现象使人百思不得其解。经过观察思考,我有所发现,在此以一家之言,供学术探讨。简而言之,当代戏曲艺术观众稀少的根本原因,在于当代人生活方式、文娱方式的巨大变化。
After more than 20 years of reform and opening up, with the hard work and courageous exploration of contemporary dramatists, the opera has indeed revived. From the script to the show. From content to form, from promoting traditional to keeping up with fashion, from Beijing, Tianjin, Shanghai and Chongqing to the northern and southern capitals, talented people, good play even Taiwan. Many aspects surpass their predecessors, some aspects beyond film and television. However, in order to win audiences and make every attempt to do everything possible, they still can not change the embarrassment of being left out of the door and form a caricature with the lively stage. This phenomenon puzzled people. After observing and thinking, I have found something in this one for academic discussion. In short, the fundamental reason why there is a sparse audience for contemporary Chinese opera art lies in the tremendous changes in the way of life and entertainment of contemporary people.