论后焦菊隐时代的北京人艺  

On Beijing People's Art Theater in the Post- Jiao- Juyin Era

作　　者：李扬[1] 

机构地区：[1]南开大学文学院,天津300071

出　　处：《广州大学学报（社会科学版）》2014年第6期88-91,共4页Journal of Guangzhou University:Social Science Edition

基　　金：教育部新世纪优秀人才支持计划资助项目(NCET-07-0451)

摘　　要：北京人民艺术剧院走过了60年的旅程。60年来,她不但成为了中国话剧艺术的最高艺术殿堂,形成了自己的演剧学派,在世界范围内也产生了广泛影响。新时期以来,北京人艺在主旋律、商业化重重包围的情况下,创作了一批实现了时代精神和普世价值的内在统一的代表剧目,超越现实主义、现代主义、民族化概念的藩篱,深化了人们对现实主义的导演理念的理解。与此同时,北京人艺的表演艺术家们通过自己的努力,做到了真正意义上的"形""神"兼备。Beijing People＇s Art Theatre has had a 60-year journey .She not only has become the highest art palace of China drama , with a drama school of her own , also have a wide influence in the world .In the new peri-od, though surrounded in the atmosphere of main melody and commerce , Beijing People＇s Art Theatre has created a lot of representative repertoire with the spirit of the times and the universal value , transcending realism , modernism and nationalism , and deepening the understanding of the concept of realistic direction .At the same time , through their own efforts , the artists in Beijing People＇s Art Theater have achieved the unity of form and spirit .

关 键 词：北京人艺 演剧学派 现实主义 表演风格 

分 类 号：J812[艺术—戏剧戏曲]