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《安徽新戏》1988年第四期上刊载鲁戈文章《当代戏剧走向管窥》。文章从三方面探讨当代戏曲走向:一、虚则更虚。它是当代戏曲发展中的一种明显趋向,如汉剧《弹吉他的姑娘》中的电话舞,桂剧《泥马泪》中表现芦苇的女队群舞。其更大的突破还在于对哲理的追求。这正应了萧伯纳说的当代戏剧与传统戏剧区别的一个重要标志是由诉诸感情转为诉诸理性的话。有人看不到当代戏曲与传统戏曲中同是虚拟化手法所存在的质的差异;甚至认为当代西方话剧中出现的写
“Anhui new drama” 1988 fourth issue published articles Lugo “contemporary drama to a glimpse.” The article explores the direction of contemporary drama from three aspects: First, the virtual is more virtual. It is an obvious tendency in the development of contemporary Chinese opera, such as the telephone dance in “Han Guilu’s Girl” in the Chinese drama and the women’s team dance in repertoire of Gui opera “muddy horse tears”. Its greater breakthrough lies in the pursuit of philosophy. This is exactly what George Bernard Shaw described as an important symbol of the difference between contemporary drama and traditional drama, from appealing feelings to resorting to reason. Some people can not see the difference between the contemporary drama and the traditional drama in the same virtualization techniques; even the contemporary Western drama that appears in the write