关于“戏剧危机”的思考

Reflecting on “the Crisis of Drama” in China

"戏剧危机"是中国戏剧史上的热题,已经成为一个不加思考的"常识",本文引入反思社会学的理论和方法,结合两次戏剧大讨论考察其提出的动机和过程。如果说中国戏剧中心位置的获得是以自主性的丧失为代价,那么"危机"的来临使得戏剧远离短期的政治功利,"边缘"恰恰正是真正"重建"的开始,"振兴"必须首先解放思想观念、转变原先的"定位"。所谓"戏剧危机"的提出固然有客观上的原因,但根源上很大程度是出于戏剧界实际利益的考量,并深深体现出二元对立的思维方式特点。

＂The Crisis of Drama＂ has been a hot topic in the history of Chinese drama, and also becomes a cliche nowadays. This article explores the motivation and the process of putting forward the discussion of the crisis of drama from the perspective of reflexive sociology. In this article, the author indicates that the central position of drama in China was achieved by sacrificing its autonomy. Therefore, the crisis also provides with an opportunity to cut adrift from the political utility and build up itself in a marginal position. Of course, revitalizing drama needs to break many boundaries and to change the previous concept of the position of drama. Thus, there were some historical reasons for the discussion on ＂the crisis of drama＂, but, there were also some concerns about specific benefits for the theater professionals, which profoundly show the dualistic way of thinking.