人学精神:话剧突围的内在驱动力

Humanistic Spirit: the Inner Drive for the Breakthrough of Chinese Drama Creation

当下中国话剧的原创剧目相对羸弱,是由于戏剧文学创作相对滞后造成的,而背后的原因则在于戏剧的人学精神的迷失。戏剧的人学精神至少可从四个维度体现出来:首先是直面社会问题,关注现实人生。戏剧反映现实人生、聚焦社会问题本是其最基本的文化功能。其次是展开历史反思,叩问人性隐秘。通过反思历史激发当下意义,通过对历史的戏剧性表达叩问人性的复杂与隐微,这是体现话剧的人学精神的题中应有之义。其三是坚持文化批判,追求诗性哲思。坚持理智而现代的文化批判立场以启迪观众的智慧,通过人类视角下的文化批判传达诗意与哲理,这应该是话剧创作更高的境界。最后是优化审美形态,探索美学建构。悲剧精神与喜剧精神不同程度地被解构、结局处理的模式化和舞台呈现的奇观化是制约当下话剧美学建构的主要因素。

Chinese original dramas are rare at present, which is caused by the relatively backward literary creation of dramas and reflects the lack of humanistic spirit in drama creation. Humanistic spirit is manifested in at least four aspects： First, a drama should face social problems and pay attention to and reflect real life, which is its most fundamental cultural function. Second, a drama should have reflection on history and get some significant lesson for current reality, and probe deeply into the subtle and complicated human nature. This is the literal significance of humanistic spirit. Third, a drama should insist on cultural criticism and seek poetic philosophizing, so as to inspire the wisdom of the audience, and express poetic quality and philosophy. This is a higher level of drama creation. Finally, drama creation should optimize aesthetic form and carry out aesthetic construction. Varying degrees of deconstruction of the spirit of tragedy and comedy, stereotypical treatment of the ending, and bizarre stage presentation are the major factors that constraint the aesthetic construction of current drama creation.