發(fā)布時(shí)間：2018-05-19 06:16

  本文選題：戲劇評(píng)論 + 戲劇創(chuàng)作��； 參考：《戲劇文學(xué)》2015年09期

【摘要】：正戲劇評(píng)論長(zhǎng)期失語(yǔ)是一個(gè)不爭(zhēng)的事實(shí)。而再一次被提將起來(lái),并逐漸發(fā)酵成一場(chǎng)關(guān)乎戲劇評(píng)論及戲劇創(chuàng)作本真的討論,是隱身劇評(píng)人的評(píng)論影響力由網(wǎng)絡(luò)照進(jìn)了現(xiàn)實(shí)。在多屏新閱讀時(shí)代,網(wǎng)絡(luò)節(jié)點(diǎn)間的信息交匯更迅捷快速。隱身劇評(píng)人以自媒體(主要是微博、微信)為平臺(tái),就看過(guò)的戲作出評(píng)論,為自己的文字負(fù)責(zé),一番不輟耕耘后,建構(gòu)起了自己的話語(yǔ)平臺(tái)。這里的隱身,不是一般意義上的網(wǎng)絡(luò)匿名。網(wǎng)絡(luò)的虛擬特性在當(dāng)下戲劇創(chuàng)作的大環(huán)境下似乎不足以
[Abstract]:It is an indisputable fact that there is a long-term aphasia in the critical drama. Once again, it has been put up and gradually developed into a discussion about the nature of drama criticism and drama creation, which is that the influence of the commentary of the invisible drama critics is reflected in the reality of the Internet. In the era of multi-screen new reading, the information intersection between network nodes is faster and faster. On the platform of self-media (mainly Weibo WeChat), the reviewers of stealth drama comment on the plays they have seen, and take responsibility for their own words, and construct their own discourse platform after unceasing efforts. The stealth here, is not the network anonymity in the general sense. The virtual nature of the web does not seem sufficient in the present context of drama creation
【作者單位】： 遼寧省藝術(shù)研究所;
【分類(lèi)號(hào)】：J805

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【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 梁偉詩(shī);;香港劇評(píng)的前世今生──從《香港戲劇評(píng)論選(1960-1999)》說(shuō)起[J];現(xiàn)代中文學(xué)刊;2010年03期

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