丰赡与匮乏--2019年中国话剧观察

Abundance and Deficiency--An Observation on Chinese Drama in 2019

2019年,中国话剧在内容选取、题材样式、艺术风格上呈现多元化,一方面力求主题性创作的新突破,努力建构和塑造新时代的叙事逻辑与人物谱系;一方面不断尝试经典"新表达"、传统"新超越"的多种可能,主旨立意、舞台语汇、艺术表达在多义、歧义甚至争议的状态中前行;一方面身处鱼龙混杂的演出市场,面对体制内外的名利、资本等诱惑,在过剩的赞誉与过度的消耗中,创作者、实践者们的艺术定力、理想激情等经受着一次次的现实考验。"变"依旧是这个新老并存、代际更迭的戏剧时代留给我们最主要的印象。但是无论如何,21世纪以来20年的实践经验启示着当下,中国话剧离不开沉淀与笃定;留下什么样的作品、推出什么样的人,始终是话剧发展绕不开的核心课题。

In 2019, Chinese drama presents diversity in selecting topics, themes and styles. On the one hand, some works strive for a new breakthrough on topics and themes by creating the narratives and portraying different characters in the new era. On the other hand, some works continue to refresh the classical topics and to transcend the traditional classics by setting up the themes and the new approaches of stage presenting in various, ambiguous and controversial ways. Simultaneously, in the social context of various commercial markets, facing the temptations of fame, benefits, capitals, the excessive compliments and consumption, the artists and the creators have endured a real test on their artistic composure, ideal and passion on theater art. "Change" is still the most important impression left to us in this era of drama coexisting with the new superseding the old. In any case, the practical experiences in the past 20 years have inspired us that the status of Chinese drama relies on the artistic accumulation, composure and resolution of the artists in theater:namely, what kind of works will be left and whom must be characterized in theater are the inevitable agendas in the development of drama.