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由于戏剧艺术本身的独特性,使其与社会政治之间产生了一种难以割离的天然联系,对此,无论是欧洲戏剧史还是中国话剧史,都提供了有力的解释。作为一种艺术样式,戏剧在发挥政治参与和社会批判功能之时,如何将政治移情与审美转换合理调配,既发挥其社会功用,承载一定的政治符码、社会担当,又不至于解构艺术底线,呈现出文化意味和审美品格,是摆在我们面前的一个重要命题。面对四川大地震,作为社会良心的文艺工作者积极应对,以坚实的艺术实践对这一公共性社会事件及其呈现出来的民族精神和集体人格进行了表现,人艺的新话剧《生·活》在艺术如何面对社会生活,如何处理政治移情与审美转换之关系等层面为我们提供了诸多启示。
Due to the uniqueness of the drama itself, it creates a kind of hard-to-break natural connection with the social politics, which provides a powerful explanation for both the history of European drama and the history of Chinese drama. As a kind of art style, how to transfer the political empathy and aesthetic transformation rationally while playing the function of political participation and social criticism, plays not only the social function, the certain political symbol, social responsibility, but also the deconstruction of art The bottom line, showing cultural meanings and aesthetic qualities, is an important proposition before us. In the face of the Sichuan earthquake, the literary and art workers as social conscience actively responded to this public social event with its solid artistic practice and the national spirit and collective personality that it presented. The new drama “ Living ”provides us with some enlightenment in such aspects as how art deals with social life and how to handle the relationship between political empathy and aesthetic transformation.