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近年来,许多戏曲从业者都在为中国戏曲的传承与发展做着各种各样的探索和努力,包括海峡两岸的专家学者。在大陆,继“青春版”《牡丹亭》问世之后,冠以“青春版”“现代版”字样的剧目时有推出。但是,正像一些“青春版”戏剧中的“青春”缺失一样,某些“现代版”戏曲也少有现代意蕴。其实,作品是否具有现代性,并不在于是否表现了现代生活,或者说,一些表现现代生活的作品未必都具有现代性。一部戏剧如果真正具有现代性含义,一定是从内容选择、人物把握到舞台呈现甚至营销策略都能够体现出现代意
In recent years, many opera practitioners are doing various explorations and efforts for the inheritance and development of Chinese opera, including experts and scholars across the Taiwan Strait. In mainland China, following the advent of “Youth Version” and “The Peony Pavilion”, the titles titled “Youth Version” and “Modern Version” have been released from time to time. However, just as there is a lack of “youth” in some “youth edition” plays, some modern versions of Chinese drama have less modern connotation. In fact, whether the works are modern or not does not lie in whether they represent modern life or that some works that represent modern life are not necessarily modern in nature. If a drama really has the meaning of modernity, must be from the content selection, character control to the stage and even marketing strategies can reflect the modern meaning