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“样板戏”本是文革政治的产物,上世纪80年代末以来,“样板戏”以不同形式出现在舞台上,形成了“样板戏”回潮现象。“样板戏”在回潮中吸引了很多经历过文革的观众,但是他们的“怀旧”心理是一种虚假的怀旧。回潮中的“样板戏”不是文革中政治化的样板戏,它的实质变异为作为在“后革命”氛围中出现的一种大众文化,作为大众文化的样板戏需要遵循市场规律,迎合大众的趣味,这也给当下作为艺术之一种形式的戏剧提出了一个疑问:作为艺术的戏剧在当下如何冲破“虚假怀旧”和商业的双重桎梏?
Since the late 1980s, the “model opera” appeared in different forms on the stage, forming a “resurgence” of “model opera”. The “Model Opera” attracted many spectators who had experienced the Cultural Revolution during the resurgence but their “nostalgia” psychology was a kind of false nostalgia. The “model opera” in the resurgence is not a politicized model opera in the Cultural Revolution. Its essence is as a mass culture appearing in the “post-revolutionary” atmosphere. As a model opera of mass culture, it is necessary to follow the laws of the market , To cater to the public interest, which also raises a question to the contemporary drama which is one of the forms of art: How can art as a drama break through the double falsehood of “false nostalgia” and business?