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浅析中国后现代话剧的发展演进及其文化学意义

The study on the Chinese post-modern drama and Cultural significance

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초록

This article’s research object is the evolution of Chinese post-modern drama. It evaluated the evolution and art characteristic of post-modern drama. Not only proposed three important evolution stage of post-modern drama: the deconstruction and rebellious, entertainment and leftist political, pioneer and experimental fade, but also points out that the cultural significance of the development of Chinese post-modern drama evolution: in a multicultural environment, Chinese drama screenwriter and director in the early 1980 ‘s reform and opening up are faced with the problem is the self-image and the cultural identity, after the baptism of "modernization" and "post-modernization" , Chinese drama began to "respect the differences", emphasis on "self-identity " is the basic spirit of multiculturalism. And reach a consensus in more aspects: respecting the "differences " will lead to fair competition and promoting democracy and open society; agreeing with "self" will enterprise and create vivid drama culture and national culture.

Abstract

This article’s research object is the evolution of Chinese post-modern drama. It evaluated the evolution and art characteristic of post-modern drama. Not only proposed three important evolution stage of post-modern drama: the deconstruction and rebellious, entertainment and leftist political, pioneer and experimental fade, but also points out that the cultural significance of the development of Chinese post-modern drama evolution: in a multicultural environment, Chinese drama screenwriter and director in the early 1980 ‘s reform and opening up are faced with the problem is the self-image and the cultural identity, after the baptism of "modernization" and "post-modernization" , Chinese drama began to "respect the differences", emphasis on "self-identity " is the basic spirit of multiculturalism. And reach a consensus in more aspects: respecting the "differences " will lead to fair competition and promoting democracy and open society; agreeing with "self" will enterprise and create vivid drama culture and national culture.

참고문헌 (16)

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  3. 袁联波, "新时期中国实验性话剧文体研究" (2008), 四川巴蜀书社
  4. 赵红帆, "话剧․感受中国" (2009), 新星出版社
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  6. 刘方政, "中国现代话剧史论" (2009), 人民文学出版社
  7. 梁秉堃, "走进“茶馆”:新中国60年话剧艺术巡礼" (2009), 同心出版社
  8. 黄振林, "话剧舞台的聚焦与透视" (2011), 中国社会科学出版社
  9. 高音, "舞台上的新中国:中国当代剧场研究" (2013), 中国戏剧出版社
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  13. 陈曦, "话剧语言的滥觞与成熟" (2013), 团结出版社
  14. 刘彦君, "中国话剧现场(2001-2012)" (2013), 学苑出版社
  15. 谢丁, "话剧持灯人(中国故事47)" (2013), 中信出版社
  16. 周斌, "中国电影、电视剧和话剧发展研究报告(2013卷)" (2014), 复旦大学出版社

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