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新时期以来,探索剧不断发展,直至今天,这股探索的风习仍在继续。因此,回顾80年代探索剧所走过的历史轨迹,对于我们借鉴其经验,总结其教训,将不无裨益。新时期话剧的发展,是中国当代艺术史上别具光彩的一页,当中国的文化艺术从寒凝大地的文革岁月中复苏之后,是话剧这门最具现实感应力和表现力的艺术,率先感知了“春风竞放满眼春”的时代气息,并且鲜明地亮出了拨乱反正的旗帜。在70年代末80年代初,中国话剧的社会影响之大,创作剧目之多,揭示社会问题之广,探索力度之强,在众多艺术门类中,可谓独树一帜。可以说它带动了中国的思想解放的社会思潮,这无疑是具有历史意义的功绩。此外,它以表现现实、描摹社会为主要目的,客观上,对于肃清文革“假、大、空”的文艺创作遗毒,恢复现实主义的优良传统,在革新求索中,寻找中国话剧的新的进路,具有积极的意义。
Since the beginning of the new era, exploratory plays have been developed continuously. Today, the style of explorations continues. Therefore, reviewing the historical trajectory of exploring drama in the 1980s will not help us learn from our experience and sum up its lessons. The development of drama in the new era is a glorious page in the history of contemporary Chinese art. After its recovery from the freezing land during the Cultural Revolution, China’s drama was the most realistic and expressive art of drama, taking the lead Perceived the “Spring Competing Spring Festival,” the era of breath, and clearly highlighted the indiscriminate chaos flag. In the late 1970s and early 1980s, the social influence of Chinese drama and the creation of numerous plays revealed the wide range of social issues and the strong exploration. It is unique in many art genres. It can be said that it has driven the social trend of thoughts of China’s liberation of ideas. This is undoubtedly a merit of historic significance. In addition, in order to represent the reality and describe the society as its main objective, objectively, it is looking for the new development of Chinese drama in the search for innovation in the objective of removing the poison from the “fake, big and empty” cultural and artistic creation of the Cultural Revolution and restoring realism. Road, with a positive meaning.