论中国当代戏剧编剧创作面对的挑战
发布时间：2018-09-14 16:36
【摘要】：一般而言，作为戏剧艺术的一度创作者——戏剧编剧，无论是对戏剧艺术的发生还是戏剧艺术的完成，都起到了至关重要的作用。随着戏剧艺术的发展与戏剧理念的流变，编剧也在不同的历史时期，不同的时空地域经历着一次次的挑战，这其中有戏剧艺术对其构成的外部挑战也有编剧自身创造所面对的自我挑战。 首先声明一点，文章中所涉及到的戏剧概念主要是指狭义的“话剧”概念，戏剧编剧的挑战谈论的也是以话剧编剧为代表的编剧所面对的普遍问题而非具体创作问题，所以在分析其历史变革和戏剧进程中，会涉及到其它戏剧样式和戏剧理论，其目的是为了更好地梳理与说明本文想要解决的普遍问题。 本文主要对当代编剧及其创作所面对的挑战做了自己的一些理解与思考，编剧所面对的外部挑战体现在文章中的第一章和第二章，第一章“影响中国戏剧发展的历史演变”主要是从戏剧艺术发展规律和戏剧理论体系流变的视角，对“戏剧舞台性的凸显”、“戏剧导演中心制的并流”以及“戏剧舞台性名与实的游离”三个对中国当代戏剧整体生态造成影响的三个方面加以阐述。第二章“中国当代戏剧体制、经济、文化生态环境”是运用社会学的研究方法，对上述三次转变所营造的中国当代戏剧的体制环境、经济环境以及文化环境加以分析，尤其是对戏剧文化环境做了比较深入的研究。编剧创作所面对的内部挑战或者自我挑战，主要体现在本文的第三章，通过对“中国当代戏剧编剧的自我反观”来试图窥探到编剧创作时的意识变化与心理状态，当然，这种变化与状态与整个的戏剧生态环境是紧密相连的。 纵观全文，戏剧艺术的发生和完成构成了其文学性与舞台性并存的特性，并形成了各具特色的东西方戏剧体系，在具体的历史时空的节点上，东西方戏剧体系得以相互交融并彼此影响，同时在戏剧艺术的发展中衍生出以导演为中心的戏剧理论与舞台呈现，舞台性在这样历史进程中其地位不断被凸显出来，文学性或者或文学性背后的人文关怀与人文意识逐渐遗失，尤其以当代中国的戏剧较为明显，在主流意识戏剧和商业戏剧的浪潮中，本体戏剧或者说戏剧艺术在不断地上下翻腾，以期冲破巨浪呼吸到象征着自由的空气。于是笔者开始就此问题开始了研究，浪潮从何而来，浪潮去向何处？戏剧编剧如何认识戏剧，戏剧编剧如何定位自己？ 望向历史，有历史原因，不可责备，但可辨析；望向现实，有现实原因，不可否认，但可明晰；望向自己，有自身原因，不可无视，但可认知。
[Abstract]:Generally speaking, as a former creator of dramatic art, drama screenwriter plays a vital role in both the occurrence of dramatic art and the completion of dramatic art. With the development of the drama art and the change of the drama idea, the screenwriter also experienced the challenge time and time in different historical period and different time and space. There are the external challenges of drama art and the self-challenge that the writers themselves create. First of all, it is stated that the concept of drama in this article mainly refers to the concept of "drama" in a narrow sense. The challenge of drama writers is also to discuss the general problems faced by screenwriters represented by drama writers rather than specific creative problems. Therefore, in the analysis of its historical transformation and drama process, it will involve other theatrical styles and theories, and its purpose is to better sort out and explain the common problems this paper wants to solve. This paper mainly makes some understanding and thinking about the challenge of contemporary screenwriter and its creation. The external challenge that the writer faces is reflected in the first and second chapters of the article. The first chapter, "Historical Evolution affecting the Development of Chinese Drama", is mainly from the perspective of the development law of drama art and the development of drama theory system, to highlight the stage of drama. This paper expounds three aspects of the influence on the whole ecology of Chinese contemporary drama caused by "the parallel flow of drama director center system" and "the separation of stage name and reality". The second chapter "Chinese contemporary drama system, economy, cultural ecological environment" is to use the sociological research method to analyze the system environment, economic environment and cultural environment of Chinese contemporary drama created by the above three changes. In particular, a more in-depth study of the cultural environment of drama. The internal challenges or self-challenges faced by the writers are mainly reflected in the third chapter of this paper, which attempts to explore the changes in consciousness and psychological state of the writers' creation through the "Self-reflection of Chinese Contemporary Drama Writers", of course. This change and state are closely related to the whole drama ecological environment. Throughout the thesis, the emergence and completion of dramatic art constitute the coexistence of literary and theatrical characteristics, and form a distinctive drama system between East and West, on the node of specific historical time and space. The drama system of East and West intermingled and influenced each other, at the same time, in the development of drama art, the theatrical theory and stage presented with the director as the center, and its status was constantly highlighted in this historical process. The humanistic concern and humanistic consciousness behind literariness or literariness are gradually lost, especially in contemporary Chinese drama, especially in the tide of mainstream consciousness drama and commercial drama. Noumenon drama or theatrical art is churning up and down in order to break through the waves and breathe the air of freedom. So the author began to study this issue. Where does the wave come from and where does the wave go? How does the playwright know the drama and how does the playwright define himself? Looking to history, there are historical reasons, can not be blamed, but can be differentiated; look to reality, there are realistic reasons, undeniable, but clear; look to oneself, have their own reasons, can not ignore, but cognitive.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J904
本文编号：2243266
[Abstract]:Generally speaking, as a former creator of dramatic art, drama screenwriter plays a vital role in both the occurrence of dramatic art and the completion of dramatic art. With the development of the drama art and the change of the drama idea, the screenwriter also experienced the challenge time and time in different historical period and different time and space. There are the external challenges of drama art and the self-challenge that the writers themselves create. First of all, it is stated that the concept of drama in this article mainly refers to the concept of "drama" in a narrow sense. The challenge of drama writers is also to discuss the general problems faced by screenwriters represented by drama writers rather than specific creative problems. Therefore, in the analysis of its historical transformation and drama process, it will involve other theatrical styles and theories, and its purpose is to better sort out and explain the common problems this paper wants to solve. This paper mainly makes some understanding and thinking about the challenge of contemporary screenwriter and its creation. The external challenge that the writer faces is reflected in the first and second chapters of the article. The first chapter, "Historical Evolution affecting the Development of Chinese Drama", is mainly from the perspective of the development law of drama art and the development of drama theory system, to highlight the stage of drama. This paper expounds three aspects of the influence on the whole ecology of Chinese contemporary drama caused by "the parallel flow of drama director center system" and "the separation of stage name and reality". The second chapter "Chinese contemporary drama system, economy, cultural ecological environment" is to use the sociological research method to analyze the system environment, economic environment and cultural environment of Chinese contemporary drama created by the above three changes. In particular, a more in-depth study of the cultural environment of drama. The internal challenges or self-challenges faced by the writers are mainly reflected in the third chapter of this paper, which attempts to explore the changes in consciousness and psychological state of the writers' creation through the "Self-reflection of Chinese Contemporary Drama Writers", of course. This change and state are closely related to the whole drama ecological environment. Throughout the thesis, the emergence and completion of dramatic art constitute the coexistence of literary and theatrical characteristics, and form a distinctive drama system between East and West, on the node of specific historical time and space. The drama system of East and West intermingled and influenced each other, at the same time, in the development of drama art, the theatrical theory and stage presented with the director as the center, and its status was constantly highlighted in this historical process. The humanistic concern and humanistic consciousness behind literariness or literariness are gradually lost, especially in contemporary Chinese drama, especially in the tide of mainstream consciousness drama and commercial drama. Noumenon drama or theatrical art is churning up and down in order to break through the waves and breathe the air of freedom. So the author began to study this issue. Where does the wave come from and where does the wave go? How does the playwright know the drama and how does the playwright define himself? Looking to history, there are historical reasons, can not be blamed, but can be differentiated; look to reality, there are realistic reasons, undeniable, but clear; look to oneself, have their own reasons, can not ignore, but cognitive.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J904
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