论文部分内容阅读
由于种种原因,对中国现代戏剧理论批评的研究很滞后,某些卓有成就的戏剧理论家、批评家长期被埋没、甚至被歪曲。近年来,对该领域的研究逐渐引起了学术界的重视,一些著作也陆续问世。宋宝珍《残破的戏剧翅膀——中国戏剧理论批评史稿》的出现,为这一学科建设增添了新鲜的血液。由于一些非专业戏剧人士(如胡适等)的介入,政治思潮、文化思潮对戏剧批评的巨大影响,在中国现代史上戏剧一定程度上的“工具性”地位等原因,中国现代戏剧理论批评呈现出异常复杂的局面:学理与非学理批评、社会学与“纯艺术”批评、甚至“左翼”与“右翼”戏剧家的批
Due to various reasons, the research on the theoretical criticism of modern Chinese drama lags behind. Some accomplished theatrical theorists and critics have for a long time been buried or even distorted. In recent years, the research on this field has gradually drawn the attention of academics, and some works have come out one after another. The appearance of Song Baozhen’s “The Broken Drama Wings - History of Criticism of Chinese Theater Theory” added fresh blood to the construction of this discipline. Due to the involvement of non-professional dramatists (such as Hu Shih), the great influence of political thoughts and cultural thoughts on dramatic criticism and the “instrumental” status of drama in modern Chinese history, the theoretical criticism of modern Chinese drama presents Unusually complex situation: academic and non-academic criticism, sociology and “pure art” criticism, and even criticism of “left-wing” and “right-wing” dramatists