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读过本期发表的《模特复活记》、《索砚》以及《没事找事》(载《戏剧文学》1986年第6期)、《萤光曲》等吉剧现代戏剧本,耳目一新,看到一些值得注意的态势。用比较流行的说法,我们吉剧作者的探索意识、超越意识和自省意识正在增强,我以为这对吉剧的前进,是不可忽视的推动力。任何创作,均需探索。特别象吉剧这样在探索中成长的新剧种,每一步都要探索,每一个剧目都应留下探索的脚印。探索是多方面的,从内容到形式,从生活到意识,是一个广阔而又复杂的领域。我们当然希望有各方面都很完美的作品出现,但
Read this issue of the “Model Revival”, “Su Yan” and “nothing” (in the “Dramatic Literature” 1986 the sixth period), “Fluorescence” and other modern drama Ji Opera, refreshing, see Some noteworthy situation. With the more popular statement, we jiyu explorers awareness, beyond awareness and awareness of self-examination is growing, I think this is the advance of Ji opera, can not be ignored driving force. Any creation, need to explore. In particular, new plays like Jiyu, which have grown up in exploration, must be explored every step of the way, and every repertory should leave the footsteps of exploration. Exploration is multifaceted, from content to form and from life to consciousness, a vast and complex area. We certainly hope that there will be works that are perfect in all aspects but