创新戏剧现在是否已经出现了某种模式?这是近来戏剧圈里时有谈起,为不少同行们所关心的一个问题。对此有几种说法: 有人认为,从某些演出来看,革新剧目确乎形成了一种新模式。理由是,舞台上运用的艺术手段,乃至演出的样式,差不多都一个模样。都有歌有舞,都有形体造型,都是中性布景,都搞虚拟时空,甚至连诸如面具、网子、哑剧动作等等具体的艺术因素,也都常常重复出现……这不是模式又是什么? 另一种看法稍稍退后一步,认为虽不能说已经形成了新的模式,但确实出现了有可能形成新模式的苗头。其理由,同前一种看法差不多少,只是在程度上理解得不那么严重。 Is there any pattern in innovative theater now? This is a topic that has been talked about in the drama circle recently for many colleagues. There are several versions of this statement: Some people think that, in some performances, the evolution of the revolution has indeed formed a new model. The reason is that the artistic means used on the stage, and the style of the performance, are almost exactly the same. There are songs and dances, all have body shapes, are neutral scenery, are engaged in virtual space-time, and even such as masks, nets, pantomime movements and other specific artistic factors, are often repeated ... ... This is not a model What is it? Another way of thinking took a slight step back, arguing that although it is impossible to say that a new model has been formed, there is indeed a sign that it is possible to form a new model. The reason, with the previous opinion is almost less, but to a lesser extent understood.