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1980年代,历经磨难的中国知识分子以极大的热情投入到新时期的思想解放运动中,戏剧舞台冲破“第四堵墙”的呼声一浪高过一浪。在易卜生社会问题剧模式被普遍质疑的历史关口,《培尔.金特》在北京的演出则抬举出了另一个易卜生。《培尔.金特》的演出契合了1980年代文化启蒙、张扬个性的时代主题,这部清算个人主义的狂想曲在演出中被赋予人性、异化和人道主义等种种不同深意。《培尔.金特》在中国舞台上的诠释出现在1980年代初知识分子情绪高涨的头几年,它不仅投射出中国接受者的见识、创作个性和人生经历,更是难脱那个时代的鲜明印记。
In the 1980s, experienced Chinese intellectuals devoted tremendous enthusiasm to the ideological liberation movement in the new era. The dramatic stage broke through the “fourth wall” one wave after another. At the historic juncture where Ibsen’s drama model of social issues is widely questioned, “Per Ginte”’s performance in Beijing lifted another Ibsen. The performance of “Pell King” fits in with the theme of the era of enlightenment and publicity of culture in the 1980s. The solo rhapsody of individualism was endowed with various meanings of human nature, alienation and humanism during the performance. The interpretation of “Pell King” on the Chinese stage came in the first few years when the intellectuals were in high spirits in the early 1980s. They not only projected the knowledge of the Chinese recipients, but also created their own personalities and life experiences. Brightly printed.