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如果不去考证小剧场戏剧的渊源和特点,只看当代快餐模式、戏谑取乐、追求票房的小剧场景观,人们一定会有“不知有汉,无论魏晋”的迷茫感。上世纪八九十年代,以标榜先锋、实验、前卫著称的非商业、非主流戏剧,在经历了二十几年的求生探索之后,居然自销了思想的锋芒,蛰伏了叛逆的勇气,在商业大潮中,心甘情愿、俯首帖耳地顺流而去,以娱乐化的方式风生云起。人们不禁要问,先锋何在,探索何为?2011年,小剧场戏剧在北京已经进入普及期,几乎每天都有一部新剧目产生,全年有3500多场演出,人们已经无法漠视其剧场表现的如火如荼,因为普及
If we do not study the origins and characteristics of the theater, we can only look at the contemporary fast-food mode, banter fun, the pursuit of the box office theater landscape, people will have “I do not know a man, no matter Wei Jin ” confusion. In the 1980s and 1990s, the non-commercial and non-mainstream dramas renowned for pioneer, experimentation and avant-garde actually sold off the edge of thought and dormant courage in rebellion after experiencing more than two decades of exploration of survival. Commercial tide, willingly, bow his head and go downstream, to entertain the way wind and clouds. One can not but ask: what is the avant-garde to explore? In 2011, theatrical theater has entered a period of popularity in Beijing. A new repertoire is produced almost daily. More than 3,500 performances have been staged throughout the year and people can no longer ignore the performance of the theater In full swing, because of popularity