摘要
戏剧文学与剧院剧场的关系问题是戏剧理论的核心问题。戏剧界有两种极端倾向:强调文学而轻视剧场或强调剧场而放逐文学。前者持作者中心论,忽视戏剧的舞台性;后者则以导表演为中心,漠视或解构戏剧的文学性。戏剧是综合艺术,是戏剧文学与舞台艺术的有机统一,戏剧有其自身的辩证法,从案头到场上,再从场上到案头,螺旋式上升,否定之否定,在扬弃中走向经典。戏剧的辩证法是戏剧经典化的必由之路。北京人艺与郭沫若、老舍、曹禺三位戏剧家的艺术合作,有失有得,创造了当代戏剧文学与舞台演出的双赢局面,开辟了民族化的戏剧之路,形成了人艺派演剧流派。
The relationship between dramatic literature and theater is the core issue of dramatic theory. There are two extremes in the theatrical world: focusing on literature while despising theater,and vice versa. The former regards the author as the center,over looking the theatrics of drama; the latter takes the performance as the center,over looking or deconstructing the literariness of drama. Drama is a comprehensive art,an organic unity of dramatic literature and stage art. Drama has its own dialectics,which is the only way to classics by developing what is good and discarding what is not. There are gains and losses in the process of collaboration between Beijing people's art and the art of Guo Moruo,Lao She and Cao Yu,creating a win-win situation both to contemporary dramatic literature and stage performances,opening the way to the nationalization of drama and forming the school of performance at theater of people's art.
出处
《扬州教育学院学报》
2014年第3期5-10,共6页
Journal of Yangzhou College of Education
关键词
戏剧文学
剧院剧场
辩证法
经典化
北京人艺
dramatic literature
theater
dialectics
canonization
Beijing people's art
