摘要
195 0年代后期至 1960年代初期展开的“话剧民族化”论争 ,要“创造出中国自己的、有独特的民族风格”的话剧 ,在戏剧创作和舞台演剧诸方面都促进了戏剧家的思索 ;然而 ,将话剧民族化视为主要是艺术表现形式 ,又强调艺术形式的民族化创造主要是学习戏曲 ,这种远离社会现实、与世界戏剧潮流隔绝的戏剧探索 ,使得新中国话剧走上一条褊狭的道路。
This paper examines the discussion on “sinization of speech drama' from the late 1950s to early 1960s, which aimed at bringing forth a “speech drama with distinct Chinese character'. While this discussion stimulated the minds of Chinese theatre artists in their attempts both at playmaking and stage production, it was narrowly focused on the formalist inventions and stressed almost exclusively Chinese traditional theatre as the source of “sinization', resulting in theatrical experimentation distanced from social reality and the development of world theatre outside China and confined to a new kind of parochialism.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2004年第2期35-44,共10页
Drama:The Journal of the Central Academy of Drama
基金
国家社科项目<当代中外比较戏剧史>(0 2BZW 0 45 )的阶段性成果
关键词
话剧民族化
话剧/戏曲
现实/艺术
中国/世界
sinization of speech drama speech drama/traditional opera China/the World
