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我认为,要想较好地看清中国戏剧的病症所在,最好的办法莫过于拿它和西方戏剧作一下比较了。而2003年的中国剧坛,则提供了一个再好不过的比较的样本。先是年初张艺谋《英雄》的热播。非典过后,国家话剧院推出了英国剧作家弗雷恩的《哥本哈根》,震惊了首都戏剧界。接着,国家话剧院又挥师南下,携《萨勒姆的女巫》等四个戏举办了“上海演出周”。十月下旬,北京人艺推出了林兆华执导的《赵氏孤儿》。年底,文化部评选出了“十大舞台艺术精品工程”,其中第三名是陈薪伊执导、戴英禄等编剧的《贞观盛世》。
I think the best way to get a good look at the conditions of Chinese drama is to compare it with Western drama. In 2003, the Chinese theater provided a better example of comparison. First Zhang Yimou early “hero” hit. After SARS, the National Theater introduced the “Copenhagen” of British dramatist Freyn, which shocked the capital’s theater industry. After that, the National Theater also moved southward to carry out the “Shanghai Performance Week” in four dramas such as “The Witch of Salem”. In late October, Peking Man’s Art launched the “Zhao Orphan” directed by Lin Zhaohua. The end of the year, the Ministry of Culture selected the “top ten stage art boutique project”, of which the third is directed by Chan Sai Yi, Dai Yinglu and other screenwriter’s “Golden Age.”