苏联戏剧历来以密切关注现实斗争,迅速更映现实生活为其主要特色。但如今新创剧目少之又少,反映当前变革剧目全付阙如。在一个政治事件层见叠出的悲剧时代,人们厌倦了那些政论剧。但俄罗斯戏剧并未远离政治,《狗心》、《兄弟姐妹》等将苏共干部、政府官员几乎都处理成丑角和嘲讽对象的作品场场爆满,深受观众欢迎。而6年前同样是品位极高、却是歌功颂德的《震撼世界的十六》、《这里的黎明静悄悄》却鸣金收兵、销声匿迹了。在这无序的混乱中,有的戏剧艺术家则通过舞台形象向民众心灵注入一种希望:无论政治风云千变万幻,世局沉浮,沧海桑田,永恒存在的是俄罗斯和俄罗斯精神。但这种精神内涵十分复杂,有人则借此宣扬一种排斥其他少数族的“大俄罗斯主义”。 The Soviet drama has traditionally paid close attention to the real struggle and rapidly replaced the real life with its main features. However, there are few newly created repertoire now, reflecting the current lack of complete repertoire. People are fed up with the political drama in a tragedy era where political events have been superimposed. However, the Russian drama was not far from politics. The works of the “Heart of the Dog,” “siblings,” and other subjects that used to cram almost all the officials and officials of the CPSU into clutches and ridicule were full and welcomed by the audience. And six years ago, the same high grade, but it is a tribute to the praises of “rock the world”, “where the dawn quietly” but Ming Jin recaptured, disappeared. In this disordered chaos, some dramatic artists inject a hope to the public through the stage image. No matter the ever-changing political situation, the ups and downs of the world, the eternity, the spirit of Russia and Russia exists. However, this spiritual connotation is very complicated, while others use it to promote “big Russianism” that excludes other ethnic minorities.