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现在写有关戏剧的文字,无疑是沉重的。因为很难说现在还有哪些青年懂得欣赏戏剧,无论是《阿依达》在上海的狂热,还是《天花与热狗》在北京的受追捧,抑或是国粹《窦娥冤》在国内巡回演出的萧条,热闹或萧条的表象下,戏剧都无法获得它所需要的来自受众的滋养。另一个类似的沉重事实是,从事中国戏剧研究的青年学者几乎占整个戏剧学者群体的一大半,但他们的研究倾向大多偏向了电影、音乐与小说评论。但无论怎样的现实景况,我们都无法不深情地注视戏剧这门人类历史上最为悠久的艺术形式。
It is undoubtedly heavy now that writing about the drama is complete. Because it’s hard to say what other young people nowadays enjoy theater, whether it is the fever of “Aida” in Shanghai, the popularity of “Smallpox and Hot Dog” in Beijing, or the domestic tour of China’s “Dou E Yuan Wrong” , Hilarious or sluggish, theater can not get the nourishment it needs from its audience. Another similarly heavy fact is that young scholars engaged in the study of Chinese drama make up almost half of the entire group of theater scholars, but their research tendencies tend to be biased toward films, music and fiction commentary. However, no matter what the reality is, we can not ignore the drama, the deepest art form in the history of mankind.