论文部分内容阅读
与20年前的冷冷清清相比,当下之中国音乐剧市场,颇有几分热闹——看世界,西洋东洋,瞄准中国市场,进军步伐浩浩荡荡;打一枪换个地方,捞足了票房,塞满了行囊。看国内,“描红”“原创”,志士仁人各有主张,这厢在剧场里较劲,那边在电视上嚷嚷;高论倒是沸沸扬扬,钱包依然空空荡荡……于是,有人哀叹,有人绝望,更有人义愤满腔:10年前,日本四季剧团早来了;如今美国人和英国人也大摇大摆地来了。而被国人寄予厚望的中国原创音乐剧,何时才有出头之日?照这样下去,中国音乐剧市场莫非真要沦陷为洋人的殖民地不成?
Compared with the lonely 20 years ago, the current market for Chinese musicals is quite lively - look at the world, the western world, aim at the Chinese market and march toward the mighty mighty steps. , Filled with luggage. Look at the country, “Red”, “original”, Cheshirenren have their own ideas, this box in the theater rivalry, yelling on television; High touches uproar, purse is still empty ... So, some people lament, desperation, More people are full of indignation: 10 years ago, Japan’s Seasons Theater came early; now Americans and the British are also swaggering. And Chinese high hopes of the original musicals, when there is a bright future? In this way, the Chinese musical market really want to fall into a colony of foreign fames?