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东北戏剧要发扬成就、应对危机,需要向多元化、地域化发展。内容多元包括题材、剧种、风格多样。形式多元包括京剧、地方戏、杂技、武术与京剧结合、现代戏、多媒体戏剧、秧歌戏、影剧互动、小剧场与大剧场并行。主体多元指戏剧创作者、表演者中的民主党派、无党派人士、少数民族、侨眷、业余爱好者等。体裁多元包括龙江剧、吉剧、黄龙戏、新城戏、延边唱剧、海城喇叭戏、皮影戏、凌源影调戏、辽南戏、阜新蒙古剧。地域化表现在:既咋咋呼呼又深沉悲怆,既张张扬扬又拘拘谨谨,流放者的土地、饱受蹂躏的历史、“关外”的自由、“关东”的生存和创业的挑战等含义纷繁的“关东文化”及其铸成的东北人的性格。东北的戏剧创作朝着多元化、地域化的方向发展,必将跃出低谷,取得新的突破。
Northeast drama to carry forward the achievements of the crisis, the need for diversified and regional development. Variety of topics include content, drama, style and diverse. Multiple forms include Beijing Opera, local opera, acrobatics, martial arts and Beijing Opera, modern drama, multimedia drama, Yangko opera, interactive drama, theater and theater in parallel. The main multi-refers to the theater creators, performers in the democratic parties, non-party members, ethnic minorities, overseas Chinese dependents, amateurs and so on. Multi-genres include Longjiang drama, Ji drama, Huanglong opera, Metro drama, Yanbian opera, Haicheng trumpet theater, shadow play, Lingyuan shadow play, Liaonan opera, Fuxin Mongolian drama. The manifestation of regionalization is that both the loud and clear whirring and profound sadness, both publicity and detention, the exile land, the history of ravages, the freedom of “customs clearance” and the survival and entrepreneurship of “Kanto” Challenges and many other implications of the “Kanto culture” and the cast of the Northeast personality. The drama creation in northeast China will develop in the direction of diversification and regionalization and will surely jumped to the bottom and made new breakthroughs.