“原创”的迷思应该打破

The Mystery of “Originality”Should Be Resolved

现在很多戏剧作品前都会被冠以"原创"的字样,那么究竟何为"原创"呢?有人说"原创"就是首创,其中包括了题材的首创、人物的首创、甚至精神的首创,这显然是从文本的角度上来说的。实际上"原创"更应该指向一种超凡的创造精神,而不是具体文本的首创。我们提倡"原创"究竟是为何?有人说是为了表现老百姓的精神生活,有人说要体现我们的时代精神。其实,"原创"是一种创作者思考世界的方式,是创作者对自己精神追求的抵达。也就是说,"原创"的烙印真正是属于个体与个体精神,而不是属于某一个时代的。无论是主流戏剧,还是商业戏剧,抑或是先锋戏剧,都脱离不了这点。那么,我们究竟该如何"原创"?其实"原创"在我们古老的中国传统戏曲中从来没有缺少过。传统戏凝聚着中国人的文化精神,它是中国人的精神家园。或许今天"原创"的贫乏就在于我们已经离自己的根脉越来越远。

Many theatrical works are labeled as ＂original＂, and then what exactly does＂original＂ mean？ Some people say ＂original＂ is ＂unprecedented＂, including unprecedented theme, characters, and even a kind of spirit, all of which are ＂original＂ in terms of text. In my opinion, ＂originality＂ should be an extraordinary creativity, instead of textual originality. Then why do we encourage originality？ Some say we do so to describe the spiritual life of common people; some say we do so to demonstrate the spirit of our time. In fact,＂originality＂ is a way in which a creator thinks of the world and is the accomplishment of his/her spiritual pursuit. In other words, what is really embedded in originality is individual spirit instead of any age. This is true not only for mainstream drama, but also for commercial drama or pioneering drama. Finally, how can we ＂originate＂.9 Actually there has always been rich ＂originality＂ in traditional Chinese ancient dramas which densely contain the cultural spirit of Chinese people. Perhaps our lack of ＂originality＂ lies in our increasing departure from our root.