论文部分内容阅读
去年三大戏剧活动(亚运会艺术节、第二届戏剧节、纪念徽班进京200周年)中好戏、好演员诸多出自地方剧种和地方剧团,而且越是基层的剧团的好戏、好演员越突出。这一特点,也反映在第8届戏剧梅花奖获奖演员名单上。大家注意到了这一现象,而且对这一现象的解释也是明白无误的:因为这些基层剧团的生存环境、服务方针使他们比起大城市的剧团来更为贴近时代、贴近人民,更加了解群众的审美需求,并且具有千方百计适应和满足群众审美需要的自觉性和积极性。在这些基层剧团出戏出人的经验中,昭示着戏曲(戏剧)走出低谷、振兴有日的根本途径:立足于民,还戏于民。
Last year, the three major theater activities (Asian Games Arts Festival, the second drama festival, commemorating the 200th anniversary of the emblem class to Beijing) were good actors and actresses, many of them came from local operas and local theater groups. The more prominent actors. This feature is also reflected in the 8th Drama Plum Blossom Award Winners list. Everybody noticed this phenomenon and explained the phenomenon clearly: for the living environment and service guidelines of these grassroots troupes made them more close to the times, closer to the people and more knowledgeable about the masses than their counterparts in the big cities Aesthetic needs, and have the consciousness and enthusiasm to do everything possible to meet and satisfy the aesthetic needs of the masses. Out of these grassroots theater troupes, they show that opera (drama) is out of the valley and the basic avenue for rejuvenating Japan has its own theme: based on the people and also playing for the people.