摘要
爱美剧时期(1918-1935)是中国话剧努力摆脱传统戏的影响,寻求建设现代舞台艺术体系的重要历史阶段。爱美剧一改文明戏艺术人当家的传统,以文学为先导,以作家为领袖,给话剧注入了新思想、新题材、新形象,在与舞台的互相磨合、协调中,逐步形成了个性和写实两大近代戏剧审美风范。剧本风格的多样化与群戏场面的增多,则为导演的诞生和成长奠定了基础。当然,演剧的能力与水平,也在一定程度上制约着剧本创作所能达到的高度。
1918 - 1935 was an important period for Chinese opera to rid itself of traditional drama in search of its own modern stagecraft. This period saw a resolute elimination of the custom of actors guiding the troupe; instead, it features literary creation as avant garde, writers/dramatists as lead force, thus instilling a whole spectrum of new ideas, new themes, and new images into drama and gradually giving rise to the two dominant aesthetic tastes on Chinese stage, i. e. , individuality and reality. The diversity of styles plus the increasing mass scenes provided the necessary room and basis for the growth of drama directors. Of course, the real competence and performances of actors/actresses prevented the new drama form from scoring more desirable heights.
出处
《首都师范大学学报（社会科学版）》
CSSCI
北大核心
2014年第2期99-104,共6页
Journal of Capital Normal University：Social Science Edition
基金
国家社科基金(艺术类)项目"中国话剧舞台艺术发展史"(05BB018)阶段性成果
关键词
爱美剧
剧本
个性
写实
演剧
1918- 1935
drama
individuality
reality
performance
