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世界性“知识爆炸”的影响所及,使我国传统戏剧观念不断发生“裂变”。运用新方法从美学、心理学,伦理学、人类学、精神现象学……多角度地审视戏剧艺术,带来了对它的本质、规律、内容、形式的新发现、新阐释。于是,新理论、新作品层出不穷,令人目不瑕接!……这种状况很象作家冯骥才在“面对文学试验的时代”一文中所形容的:“……曾经,我们大家好象只爬一个大梯子。上上下下挤满人,高高低低又自然分明。今天好象换了一种玩法。每人都爬自己一个梯子。梯子的式样结构都不同……那种全知全能一通百通无所不包的评论已经谢世了。”
The worldwide “explosion of knowledge” has brought about the “fission” in our traditional concept of drama. Using new methods to look at theater art from aesthetics, psychology, ethics, anthropology and psycho-phenomenology ... brings forth new discoveries and new interpretations of its essence, laws, contents and forms. As a result, new theories and new works are endless and flawless! ... This situation is much like the author Feng Jicai described in his article “The Age of Literary Experimentation:” ... Once, we all seemed to only climb A big ladder up and down crowded full of people, high and low and natural clear. Today, as if for a change of play. Each climb one of their own ladders. Ladders of the different styles and structures ... ... that omnipotent all-pass a pass Belden The comments that are not included have already passed away. "