【摘要】： “新時期”的“戲劇觀爭鳴”,既是對建國十七年戲劇的總結(jié)與反思,又是為今后中國戲劇的發(fā)展、前進(jìn)尋求出路。而事實上,“爭鳴”是應(yīng)“危機”之時爆發(fā)的。面對我國戲劇持續(xù)低迷、停滯的困境,“爭鳴”之潮掀起的波瀾巨大而又影響深遠(yuǎn)。總的說來,內(nèi)容和形式的變革是上述現(xiàn)象所關(guān)注的焦點問題。在內(nèi)容上,戲劇界強烈呼吁,剔除“工具論”的束縛,提升作品的思想哲理品格,把創(chuàng)作的中心轉(zhuǎn)移到“人”的領(lǐng)域,即為“人學(xué)”的復(fù)蘇。而在形式上,創(chuàng)作者早已不能滿足單一的傳統(tǒng)現(xiàn)實主義基調(diào),把目光投射到“寫實”戲劇以外的戲劇觀念,尋求突破,即為“新現(xiàn)實主義”。因而,追求思想哲理,探索新的演出形式,在傳統(tǒng)和現(xiàn)代的天平上尋找平衡點是新時期導(dǎo)演藝術(shù)的特征。 在上述大的文化背景下,中國戲劇培養(yǎng)了新一代優(yōu)秀的導(dǎo)演,王曉鷹就是其中的代表。他于1984年創(chuàng)作《掛在墻上的老B》開始,一直活躍在中國戲劇的舞臺上。得益于“戲劇觀爭鳴”,他能廣泛吸收各種戲劇觀念的營養(yǎng),并創(chuàng)造性的體現(xiàn)在自己的創(chuàng)作中;對“假定性”的獨特認(rèn)識,使得他面對各種題材的作品都能駕輕就熟,而向“表現(xiàn)美學(xué)”的拓展,又能讓他通過“詩化意象”表達(dá)自己的哲理思索。20余年的勤奮、努力,如今的王曉鷹已確立了自己的創(chuàng)作觀念和導(dǎo)演藝術(shù)特色。同時也奠定了自己創(chuàng)作的審美取向。 本文立足于“新時期”文化語境,試圖對王曉鷹獨立的導(dǎo)演藝術(shù)特色做以科學(xué)、系統(tǒng)的歸納、總結(jié)。同時,亦對其創(chuàng)作的審美取向進(jìn)行探究。另外,通過個案研究,窺探整個新時期導(dǎo)演藝術(shù)的狀態(tài),也是本文所觀照的重點。
[Abstract]:The "drama view contending" in the new period is not only a summary and reflection of the drama of the 17th year of the founding of the people's Republic of China, but also a way out for the development of Chinese drama in the future. In fact, contending broke out at the time of crisis. In the face of the depression and stagnation of Chinese drama, the tide of "contention" is huge and far-reaching. In general, the change in content and form is the focus of attention. In terms of content, the drama circles strongly appeal to remove the shackles of "tool theory", to promote the ideological and philosophical character of the works, and to shift the center of creation to the field of "man", that is, the revival of "human studies". In form, the creators have been unable to satisfy the single tone of traditional realism and cast their eyes on the concept of drama other than "realistic" drama to seek a breakthrough, that is, "new realism". Therefore, pursuing ideological philosophy, exploring new forms of performance, and finding a balance between traditional and modern scales are the characteristics of the art of directors in the new period. Under the above cultural background, Chinese drama has cultivated a new generation of excellent directors, among which Wang Xiaoying is the representative. He began writing Old B on the Wall in 1984 and has been active on the stage of Chinese drama. Thanks to "drama view contending", he can absorb the nutrition of all kinds of drama ideas and creatively embody it in his own creation, and his unique understanding of "hypotheses" enables him to be familiar with his works of all kinds of subjects. The expansion of "expressive aesthetics" enables him to express his philosophical thinking through "poetic imagery" for more than 20 years. Wang Xiaoying has now established his own creative concept and artistic characteristics of director. At the same time, it also establishes the aesthetic orientation of its own creation. Based on the cultural context of "New period", this paper tries to make a scientific, systematic induction and summary of Wang Xiaoying's independent artistic characteristics of director. At the same time, it also explores the aesthetic orientation of its creation. In addition, through the case study, to explore the state of the whole new period director art, is also the focus of this article.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J824

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