论文部分内容阅读
1988年以来,在总路线的光辉照耀下,上海話剧事业,出現了大跃进的局面,上海儿童艺术剧院也不例外。在1958年以前,在儿童戏剧的領域里,以上海儿童艺术剧院为例,同样是外国剧目多于本国剧目,童話剧目多于現实剧目,关門提高的大型“正規”演出多于送戏上門的小型巡迴演出。这样演出的結果,不仅在一个短的时期里,使儿童戏剧出現了脫离政治、脫离生活、脫离群众的現象,同时在部分儿童戏剧工作中間,也滋长着形形色色的資产阶級文艺思想。重“洋”輕“中”、重提高輕普及,热中于成人戏,不愿接触儿童,不愿为儿童演出,这在当时是相当严重的傾向。
Since 1988, under the brilliant shine of the general route, there has been a great leap forward in the cause of Shanghai’s drama and the Shanghai Children’s Art Theater is no exception. Before 1958, in the field of children’s theater, taking the Shanghai Children’s Art Theater as an example, there were more foreign repertoires than domestic repertoire, more fairy tales than real repertoire, and more large-scale “regular” shows with more closed doors Come on a small tour. As a result of such performances, not only did the children’s drama emerge from politics, from life and from the masses in a short period of time, but at the same time, among the children’s theater work, various kinds of bourgeois literature and art thought. It is quite a serious tendency at that time to emphasize “popularization” and “popularize” lightness, re-emphasize popularity and popularity and focus on adult drama. Reluctance to reach out to children and reluctance to perform for children.