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将来有一天.也许会有人评论,所有这些探索是可笑的,那我也会很高兴,因为.这意味着中国戏剧确实有了更大的发展,进入了更高的美学层次。我,心甘情愿成为一个过渡性人物。——胡伟民(《导演的自我超越》后记)胡伟民和刘擎的对话《〈魔方〉的挑战》发表在文汇报上。这是我们如今很难在新闻媒体上看到的戏剧笔谈了——一位理工科研究生和一位戏剧导演,以专业的术语和视角,讨论一部充满各种戏剧元素且奇思妙想的校园戏剧作品。然而在当时,这一切似乎是顺理成章——戏剧是整个八十年代文化脉络中极具思想性、先锋性的艺术形式,它的从业者和它的爱好者,都迫不及待地去开阔自己的欣赏视野,又满怀希望地想要为中国的戏剧革新而努力。
One day in the future, there may be some comments, all of these explorations are ridiculous, then I will be happy, because it means that there is indeed a greater development of Chinese drama, entered a higher aesthetic level. I, willing to become a transitional figure. - Hu Weimin (“Director’s Self-Transcendence” Postscript) Hu Weimin and Liu Qing’s Dialogue The Challenge of Cube was published in the Wen Wei Po. This is the dramatic pen we now find hard to find in the news media - a graduate student in science and engineering and a theater director, talking in professional jargon and perspective about a whimsy Campus drama. At the time, however, all this seemed to be a matter of course - drama was a highly ideological and avant-garde form of art throughout the cultural context of the 1980s. Its practitioners and its enthusiasts could not wait to broaden their horizons, Hopefully, we want to work hard for the dramatic renovation of China.