从“万比洛夫派”到“新戏剧”:当代俄罗斯戏剧源流与发展考  

From "Vampilov School" to "New Drama": On the Starting Point and Evolution of Contemporary Russian Drama

作　　者：王树福[1] 

机构地区：[1]华中师范大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2011年第4期26-38,共13页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金青年项目"当代俄罗斯戏剧思潮研究"【项目批号:10CWW008】;教育部人文社科项目"20世纪外国文学思想史研究"(俄苏卷)【项目批号:05jjd750ll-44208】的阶段成果

摘　　要：以1953年斯大林去世为滥觞、以"解冻文学"为开端,当代俄罗斯戏剧在美学观念、艺术手法、表/导演理念、戏剧体式、叙述策略等层面都发生了前所未有的变化。从"解冻"到"停滞"时期的"万比洛夫派"戏剧,从"停滞"到"改革"时期的"新浪潮"戏剧,从"改革"到"重建"时期的"新剧作"现象,以及从"重建"到"新生"时期的"新戏剧"现象,当代俄罗斯戏剧在主流与边缘、传统与先锋、本土与外来等因素中不断兴起和发展,涌现出众多流派和思潮,形成多种风格和题材。其发展历程不仅折射出社会的变迁和历史的发展,也反映着文化话语的重组与戏剧的裂变。Contemporary Russian drama started in the wake of Joseph Stalin＇s death in 1953, with ＂The Thaw＂. From then on, Russian theatre has experienced great changes in its aesthetics, methods, concepts of performance and direction, dramatic style and narrative strategy. New schools and trends, varying in style and theme, took form in the interfaces of the mainstream and the peripheral, the traditional and the avant-garde, the local and the imported. There are ＂Vampilov School＂ during Khrushchev＇s Thaw and standstill period, the ＂New Wave＂ during the standstill period and the reform period, the ＂New Play＂ during the reform period and the rebuilding period, and the ＂ New Drama＂ during the rebuilding and the Regeneration periods, among others. Contemporary Russian drama is not only a result of Russian socio-historic development, but also the consequence of reconstruction of discourse and restructu ring of theatre.

关 键 词：“万比洛夫派”“新浪潮” “新剧作” “新戏剧” 当代俄罗斯戏剧 

分 类 号：J809.512[艺术—戏剧戏曲]