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一九八七年底和八八年初,谭霈生同志在《人民日报》和《戏剧评论》发表文章,提出了对“戏剧本质”的再认识问题,并阐明了他所推崇的“情境”说的观点和理论。这一举动,在戏剧界内部产生了很大影响。无论是搞戏剧理论批评的同志,还是从事创作实践的艺术家,都对此产生了兴趣,至今仍有所思考。关于什么是“戏剧本质”的问题,乃是一个很重要的理论研究课题。对它的深入探讨,不仅可以廓清一些长期存在的似是而非的结论,深化戏剧基础理论的学术研究,使其更接近戏剧自身所存在的真理;同时,也可以进一步推动我国八十年代初开始的戏剧实验、探索活动,对繁荣戏剧事业起间接的促进作用。
In late 1987 and early 1988, Comrade Tan Ssu-sheng published an article in People's Daily and Drama Review, raising the issue of re-understanding the essence of drama and elaborating on his point of view on the “situation” theory. This move has had a significant impact within the theater industry. No matter whether he is a comrade who criticizes drama theory or an artist who practices creative writing, he is still interested in this subject. He still thinks about it. The question of what is “drama essence” is a very important theoretical research topic. It can not only clarify some specious conclusions that exist for a long time, but also deepen the academic study of the basic theory of drama to bring it closer to the truth of the drama itself; at the same time, it can also further promote the drama begun in the early 1980s Experiments, exploration activities, plays an indirect role in promoting prosperity and drama.