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1990年代以来,在世俗化社会思潮的影响下,通俗话剧大量涌现。为降低运作成本,通俗话剧往往采用小剧场形式演出,因而将实验话剧具有实验性质的“小剧场”转换为了仅限于空间考虑的“小”剧场。为迎合市民审美趣味,1990年代上半期的通俗话剧多有猎奇倾向;而从1990年代下半期开始,对社会心理的把握成为通俗话剧看重精神深度与艺术品位的有益尝试。总体看来,虽然在表现人的情感、欲望的“还俗”之途上,通俗话剧有解禁之功,但超越性价值的缺乏却是其通病。
Since the 1990s, under the influence of secularized social thoughts, popular drama has emerged in large numbers. In order to reduce the operating costs, popular plays are often performed in the form of small theater, thus converting the experimental theater “small theater ” into a “small ” theater limited to space considerations. In order to cater to the aesthetic taste of the public, the popular drama in the first half of the 1990s tended to be more adventurous. From the latter half of the 1990s, social psychology became a useful attempt to value spiritual depth and artistic taste in popular drama. Generally speaking, although popular plays have the power of lifting the ban on the way of expressing human emotions and desires, the lack of transcendence of sexual values is its common problem.