1990年代中国话剧艺术走向述论

An Overview of the Spoken Drama in China in the 1990s

1990年代以来的话剧呈现出多元发展的态势。主流话剧开始"由圣入凡",通俗话剧致力于开发市场,新历史主义剧作钟情于戏说历史,先锋话剧则进行了突出导演个人意志的实践。它们价值取向、审美标准不同,彼此间未构成对话,安然走向了分流。在日渐强劲的消费主义潮流与大众文化的裹挟下,消闲、娱乐、搞笑产品成为1990年代以来剧坛的新宠,可供反复搬演的剧作却寥若晨星。艺术的实验虽不断在进行,思想的缺席却导致"剧本荒"的尴尬。

Since the 1990s the development of spoken The mainstream spoken drama changes its focus from the drama tends to be divided into several branches. sacred＂ to the ＂mundane,＂ and popular spoken drama is engaged in developing market. New historical drama aims to reconstruct history in a playful way, while avant - garde spoken drama emphasizes the auteurism. Despite the difference of value systems and aesthetic standards, these genres do not converse with each other. Rather, they occupy individual positions in the field. With the rapid development of consumerism and mass culture, leisure, entertainment and jocosity are enthusiastically embraced by the field of spoken drama. Nevertheless, despite the continuous experiments, few plays are available for this repetitively experiment. The absence of thought leads to the embarrassing situation of the ＂script shortage＂ in contemporary era.