城市日常生活的神话与现代戏剧的衰微  

The Myth of Daily Urban Lives and the Decline of Modern Dramas

作　　者：张进[1] 张慧敏[2] 

机构地区：[1]兰州大学文学院,甘肃兰州730000 [2]三峡大学文学与传媒学院,湖北宜昌443002

出　　处：《兰州大学学报（社会科学版）》2012年第6期1-6,共6页Journal of Lanzhou University（Social Sciences）

基　　金：兰州大学中央高校基本科研业务费专项资金项目(09LZUJBWZD001)

摘　　要：中国现代戏剧在其形成期就带有一种本体性的文化品格,即生于城市、表现日常。在此后几十年的发展过程中,话剧由于不断地实践着这一文化品格而能够持久不衰,并诞生了很多戏剧史上的经典剧作。然而,在进入新时期之后,由于现代历史条件与剧作家对现代性的追求与理解都发生了巨大的变化,一方面剧作家们在80年代有了从事种种戏剧实验的开放空间,另一方面消费社会中大众娱乐文化在90年代开始崛起并迅猛发展,而无论是远离大众日常实践的实验戏剧还是日常消费中的大众文化,都对现代话剧形成了强烈的冲击并导致其走向了衰微。The modern Chinese drama is characteristic of cultural ontology from the very beginning when it was formed： born in the city and dramatizing its daily lives. It is due to this characteristic that the modern Chinese drama has survived and developed in decades and many classics have been thus created. However, when history entered the new age, the cultural and living environment was changed and the dramatists turned to the pursuit of modernity and the concept of comprehensibility. Thus, on the one hand, the dramatists had more space in the 1980s to try experimental dramas which were sometimes purely artistic and far from people＇s daily lives, while on the other hand a new mass entertainment culture rose in the 1990s and thrived rapidly. Together they form a great slash to the modern Chinese drama and cause it to decline.

关 键 词：城市 日常生活 现代性 戏剧 

分 类 号：I206.7[文学—中国文学]