戏剧“写意”析疑

An Analysis of Mis-readings of “Essentialist Theatre

本文从“写意戏剧”一词在历史语境中的流通入手 ,重读国剧运动和黄佐临有关于“写意戏剧”的文章 ,在深广的背景下探寻该词在不同时代的不同使用和因其意义模糊导致的误解。对“写意戏剧”观的倡导者的社会背景、动机、机遇 ,以及意识形态和戏剧共同体在他们艺术主张传播过程中所起的作用进行了讨论。最后总结性地讨论黄佐临之后戏剧理论界出现的某些倾向 ,并对“写意”概念在使用过程中的混乱做了辨正工作。

This paper seeks a re-reading of the national theatre movement and Huang Zuolin's idea of “essentialist theatre' by looking into the historical context of the term “essentialist theatre', putting into perspective its usages and mis-readings in different times. It discusses the social background, motives, encounters and ideologies of the promoters of this idea of theatre. It summarizes the different trends in theatre theory in response to Huang's idea.