中国当代“导演戏剧”类型论  

On the Types of Director’s Theatre in Contemporary China

作　　者：杨光[1] YANG Guang

机构地区：[1]南京中医药大学医学人文学院

出　　处：《戏剧艺术》2023年第5期61-70,共10页Theatre Arts

基　　金：国家社会科学基金重大项目“中国话剧接受史”(18ZDA260)子课题“中国话剧接受美学研究”的阶段性成果。

摘　　要：中国当代戏剧是导演主宰的时代,不过“导演戏剧”在中国并非单一的戏剧类型,其大体包括三类:“思想开掘型”“改编剧”“后戏剧”及其变体。“思想开掘型”演出需要导演对剧本进行深度开掘,包括“剧蕴发掘”和“人文诠释”两种形态。“思想开掘型”应以高质量的剧本为前提,其面临的最大困境仍是“剧本荒”。“改编剧”强调导演对原著的诠释,包括“舞台性”改编和“剧本性”改编。前者的问题在于缺少对文学逻辑的修正,后者的问题在于深度不足。“后戏剧”及其变体实验性较强,评论者应给予其必要的宽容。类型的丰富不等于思想的深刻,“导演戏剧”的潜力在中国仍未完全释放。Contemporary Chinese theatre is dominated by the director,and the director's theatre(Regietheater)has three sub-types:enriching-thought theatre,adapted theatre and postdramatic theatre with its variants.Enriching-thought theatre can be divided into two forms:digging out dramatic implications and seeking humanistic interpretation.Excellent drama,the prerequisite of enriching-thought theatre,is in short supply,which puts enriching-thought theatre in a dilemma.Adapted theatre emphasizes the director's new interpretations of the stage and the script:the former,the stage adaptation,fails to modify the logic of the original work,and the latter,the script adaptation,is inadequate in its depth of thought.Postdramatic theatre and its variants are experimental forms to which theatre critics should be more tolerant.The variety of sub-types,however,is not equal to the profundity of thought,and director's theatre still has a great potential to be tapped in China.

关 键 词：导演戏剧 戏剧类型 导演中心 

分 类 号：J80[艺术—戏剧戏曲]