摘要
假定性、剧场性以及娱乐性是高行健从民间文化中摘取的三棵重要的“种子”。他渴望这三棵“种子”能在20世纪70年代末的中国土壤上存活下来,以此带动中国戏剧的复兴。高行健寻戏剧之“根”并不是对中国原始野性文化的自恋,而是在现代性浸淫中对传统戏剧资源的新的开掘,是一种找寻超越与突破支点的努力。
Assumption, theatre and entertainment are three important seeds that Gao Xingjian extracts in folk culture. He longs for that these three seeds can survive at the end of 1970＇ s and in 1980＇ s Chinese soil so that they can spur Chinese drama Risorgimento. Gao Xingjian＇ s looking for ＂root＂ of drama is really not the naxcissism to Chinese primitive wild culture, but to dig newly to tradition drama resource in modem enmeshment and an effort to look for the exceeding and breaking a fulcrum.
出处
《韶关学院学报》
2007年第4期14-17,共4页
Journal of Shaoguan University
基金
辽宁省教育厅高等学校科学研究项目"西方意识流文学与当代中国文学创作"(20040341)阶段性研究成果
关键词
高行健
野性思维
民间文化
Gao Xingjian
wild thought
folk culture
