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西藏民族话剧的发展已走过了28个年头,风风雨雨,充满了欢乐和辛酸,使人激动也催人思考,成果不小,但面前更为艰难的道路该怎么走? 好象是在八十年代初,我们高原话剧界的艺术家们突然感觉到一种强大的冲击波迎面而来,电影、电视、通俗文艺象勾魂似地将人们引出了剧场,话剧昔日那种门庭若市的情景变成了美好的回忆,演职员们也渐渐失去了排新戏的兴趣。变化之迅速简直使人有点儿不可捉摸。但有一点是显而易见的,那就是在这里生活的藏族观众也渴慕新的东西,追求新的东西,陈旧的艺术已使他们感到厌倦了。新的文化信息正给其以强大的吸引力。西藏的民族话剧面临着选择,也必须选择。形势迫使我们进行困惑之余的思索。
The development of Tibetan national drama has gone through 28 years, ups and downs, full of joy and bitterness, exciting and inspiring thinking, the result is not small, but in front of the more difficult way to go? In the early 1980s, the artists in our highland drama world suddenly felt a powerful shock wave coming in. The movie, television and popular literature and art suddenly led people out of the theater. The old-fashioned scene of the drama became like Beautiful memories, the credits have gradually lost interest in row of new games. The rapid change is simply a little elusive. But it is obvious that Tibetan audiences who live here are also hungry for new things and pursuing new things. The old art has tired them. New cultural information is giving it a strong appeal. The Tibetan national drama faces choices and must choose. The situation forces us to perplex the rest of our thinking.