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随着商品经济对艺术铺天盖地的冲击,全球文化越来越被大众传媒和全球性的商业及文化活动系连在一起,用法兰克福学派的重要人物阿多那的话来说:“商品已经成为它自己的意识形态”.检视当代戏剧的发展过程,不难发现,在当代文化发生转型的同时,戏剧艺术已随之跨入了一个新的文化语境之中,一套与当代文化语境密切相关的新的话语正在形成,戏剧在全球性市场化的不可(?)止的进程中,寻找着自身的位置.
With the overwhelming impact of the commodity economy on the arts, the global culture is increasingly being linked by the mass media and global business and cultural activities, in the words of Adorno, a prominent Francophonist: “The commodity has become itself Ideology. ”Looking at the development of contemporary drama, it is not difficult to find that while the contemporary culture has undergone a transformation, dramatic arts have entered a new cultural context with a set that is closely related to the contemporary cultural context The new discourse is taking shape and the theater is looking for its place in the inevitable march of global marketization.