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戏剧与生活的关系,似乎是个不需要继续进行讨论的问题。作家要深入生活,现在谈论不多,要谈也是老调重弹。创作现代戏,创作反映现实生活的现代戏,却不能不到生活中去。生活,创作;再生活,再创作,往往经历好几个回合,才能悟出一点道理,有一点真情实感,有一点真知灼见。生活底子的加厚,仅用于作家知识结构的积累与调整。对生活的理解和感受,仅仅是作家个人思维意识的里程记录,并非“通用粮票”。从现代戏《水乡情》的创作中,我们感受到,戏剧是生活的折射,再折射到生活中去。通过舞台这面反光镜,生活可以在艺术中看到自己,戏剧也可以在生活中发现自己。戏剧离不开生活,离不开观众。
The relationship between drama and life seems to be a problem that does not require further discussion. Writers want to go deep into their lives. Now they do not talk much about it. Creation of modern drama, creation reflects the real life of modern drama, but can not but to life. Life, creation; re-life, re-creation, often go through several rounds, in order to realize that truth, a little truth, a little insight. Thickened living foundation, only for the accumulation and adjustment of the writer’s knowledge structure. Understanding and feeling of life is merely a milestone record of the writer’s personal thinking. It is not a “universal food stamp.” From the creation of the modern drama “Water Country Love”, we feel that drama is the refraction of life and refraction into life. Through this stage mirror, life can see itself in art, and theater can find itself in life. Drama is inseparable from life, can not do without the audience.