中国新时期小剧场戏剧的媚俗化特征  

Vulgarization of Little Theatre Drama in China

作　　者：张亚丽[1] Zhang Yali

机构地区：[1]中央戏剧学院舞台美术系

出　　处：《戏剧（中央戏剧学院学报）》2022年第6期123-132,共10页Drama:The Journal of the Central Academy of Drama

基　　金：2021年度国家社科基金艺术学重大项目“当代中国话剧作品评价体系与质量提升研究*”(项目编号:21ZD13)的阶段性成果。

摘　　要：新时期小剧场戏剧以其实验性、先锋性和探索性等特点,成为中国当代戏剧革新创造的重要力量,取得了数量可观、形态多样、思想多元的创作实践成果,极大地丰富了中国当代戏剧的形式与内涵。作为新时期中国戏剧的重要分支,小剧场戏剧的产生与变化,深受这一时期市场经济飞速发展、文化消费丰裕多样、大众审美趣味变迁等因素的影响,特别是在大众文化的浸润与冲击下从剧名、选角、语言、视觉等创作本体上呈现出媚俗化倾向。本文试图从媚俗的内涵与特征、生成与原因、体现、启示四个方面,对新时期小剧场戏剧的媚俗化特征进行分析,并对今后小剧场戏剧如何避免媚俗化提出意见。With its innovative, avant-garde and exploratory quality, little theatre drama has been an important innovative force in Chinese contemporary drama. With an abundant supply of diversified new plays, it has enriched the form and connotation of Chinese contemporary drama. As an important branch of Chinese drama, little theatre drama is under the influence of flourishing market economy, booming cultural consumption, and changing public taste in the new era. Mass culture, in particular, is a force not to be overlooked, which leads to the vulgarization of little theatre drama in terms of the title, cast, script, and visual effect. This article analyzes this phenomenon from four parts including its connotation and characteristics, origin and reasons,expression and inspiration and puts forward some solutions.

关 键 词：新时期 小剧场戏剧 媚俗化 

分 类 号：J82[艺术—戏剧戏曲]