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1、一月中旬,高士明邀请我去杭州,参加中国媒体城市沙龙第二次论坛。期间,他提及我排过的戏剧《彼岸》。他说今年是《彼岸》上演二十周年,对中国当代戏剧来说,这是一个重要的节点,应该用什么方式回顾纪念一下。2、此前,我一直没有意识到今年是《彼岸》二十周年。甚至,我连《彼岸》这个戏都已经很少想到了。但是,士明这一提,关于《彼岸》的记忆闸门一下被撞开。当时的直接反应有两个,一是已经二十年了,时间的重量;二是蓦然发现,二十年过去,那个戏所表达的主题,在今天不仅没有过时,它的现实性反而更加凸显和强烈。3、我知道,在士明的视野里,对于中国当代艺术,从各个方面来看,1993年都是标志性的年份。整个中国,上个世纪八十年代向九十年代的转型,就是从1993年开始的。《彼岸》恰好在那一年上演。这个戏是我个人戏剧工作的一个转折,现在回头看,它也是中国当代戏
In mid-January, Gao Shiming invited me to Hangzhou to attend the second forum of the Chinese media city Sharon. During that time, he referred to the drama “The Other Side” that I drafted. He said that this year marks the twentieth anniversary of the “other side of the world.” This is an important node for contemporary Chinese drama. In what way should we review the commemoration? 2, Previously, I never realized that this year was the twentieth anniversary of “the other bank.” Even, I even have the “other side” this movie have rarely thought of. However, Shimin mentioned that the gate of memory about “the other side” was cracked open. There were two direct reactions at that time. One was 20 years ago and the weight of time. The second was that I found out that the theme expressed in that drama was not only outdated today, but more so in its reality And intense. 3, I know that in the view of Shi Ming, for all aspects of contemporary Chinese art, 1993 is an iconic year. The entire Chinese transition from the 1980s to the 1990s started in 1993. The other side of the river staged just that year. This show is a turning point in my personal drama work. Looking back now, it is also a show of contemporary Chinese drama