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戏剧批评的停滞和失语现象,一直是困扰戏剧界的一大问题。作为一种策略,近年来戏剧批评逐渐变为“说好话”的捧场和“走极端”的棒杀,而支撑这类戏剧批评的则是个人支离破碎的观剧印象。作为一种戏剧批评现象,肯定有各种各样的原因,但理论上的模糊和缺失应该是其中起着重要作用的原因之一。本文不想从理论到理论地讨论戏剧批评的原则和构成,这种方法似乎很学术化,但也因此会使笔者的很多感性的、具体的东西被舍弃,这样做也许反而不能讲清楚一些问题。所以,笔者想结合舞台艺术作品来谈谈戏剧批评的解读和评判。
The stagnation and aphasia of theatrical criticism have always been a big problem plaguing the theater industry. As a strategy, in recent years, dramatic criticism has gradually changed into “good words” and “extreme” bats. The criticism that supports such dramas is the impression of a fragmented personal drama. There are certainly a variety of reasons for the phenomenon of drama criticism, but the theoretical vagueness and lack of it should be one of the reasons why it plays an important role. This article does not intend to discuss the principles and constitutions of dramatic criticism from theory to theory. This method seems to be very academic. However, many of the author’s emotional and concrete things are discarded. This may not explain some of the problems clearly. Therefore, I want to combine stage art to talk about the interpretation and critique of drama criticism.