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90年代初,正当我们为话剧的前途黯然神伤时,正当我们为话剧的命运驻足关注时,话剧选择了自救的道路,在山穷水尽之际寻到了柳岸花明之村。这即是说,由上海剧坛率先发起的小剧场在“风流总被雨打风吹去”的话剧萧条时期爆出了冷门,接着北京、天津等地云集响应,小剧场在全国引起了强烈的轰动效应,一扫往日“门可罗雀”的悲凉景象。但是,正像一位被上帝遗弃的孩子在遍尝人闻冷暖而重又得到上帝的抚爱而受宠若惊一样,我们这些戏剧爱好者在话剧重又得到观众青睐之时除了怀有深深的感激外,还有一些莫名的惶恐。正因为我们曾经目睹了话剧昔日的风采和衰败,当热情的掌声再度响起来,才不敢让理智耽迷于话剧中兴的现象之中。所以,我认为:小剧场的推出并不标志话剧黄金时期的再度到来,或者说,小剧场只是话剧由衰到荣的一个契机。因此,我们应该在保持清醒的头脑之时,对小剧场的一度繁荣现象进行理论上的探讨。
In the early 90s, just as we were deeply saddened by the future of drama, just as we were concerned about the fate of drama, we chose the path of self-help to find the village of Willowbank at the foot of the mountain. That is to say, the small theater initiated by the Shanghai Theater opened its doors in the depression during the drama “The Merry always blew the rain”, followed by Beijing and Tianjin, which aroused strong influence across the country The sensational effect, swept away the past, “a lovely” of the sad scene. However, just as the kidnapped by God is overwhelmed by the warmth of man and the reawakening of God’s love, those of us theater lovers, in addition to being deeply grateful when the drama gets back to the audience again , There are some inexplicable panic. It is precisely because we have witnessed the past style and decline of drama, when the enthusiastic applause sounded again, can not let the reason addicted to the phenomenon of drama rejuvenation. So, I think: the introduction of a small theater does not mark the return of the golden age of theater, or that a small theater is just an opportunity for the decline of drama. Therefore, we should keep a clear head when the theater of the once prosperity for a theoretical discussion.