元杂剧是怎样形成的

研究中国戏剧发展史,研究中国戏剧艺术发展的规律,研究中国戏剧美学,都避不开一个重要课题,就是中国戏剧是怎样形成的。研究中国戏剧是怎样形成的,元杂剧是这个问题的关键。因为元杂剧是中国第一批定型的、成熟的戏剧,它既集过去戏剧艺术之大成,又以自已独特的创造完成了中国人民戏剧观的根本转变,以大量的优秀创作将元杂剧推向了中国戏剧发展的第一个高峰,促进了元杂剧的繁荣,奠定了中国戏剧发展的坚实基础,同时又为后来中国戏剧的发展开阔了道路,积累了丰富的经验。元杂剧是怎样成的,是一个相当复杂的问题,既涉及到戏剧艺术本身发展的内部规律,     

试论九十年代以来中国戏剧的整体状况

20世纪90年代,中国社会发生了巨大变化。由电影、电视等新兴媒介构建的大众文化占据主流,中国戏剧的发展举步维艰,在商品经济和全球化的背景下,中国戏剧呈现出多元化的发展倾向,同时中国戏剧在半推半就间进入了市场化运作,以期为自己的生存和发展寻求合适的空间,谋求最大可能的社会价值。     

再论民间祭祀文化在戏剧起源史上的重要作用——对傅谨教授《中国戏剧发源于乡村祭祀仪礼说质疑》一文的回应

傅谨教授的《中国戏剧发源于祭祀仪礼说质疑》是对拙著《中国戏剧史》的批评,但也是一种明显的误读。中国戏剧学界存在着“禁忌民俗学”的传统偏见,忽视乡村祭祀戏剧的研究成果,漠视民间祭祀文化在中国戏剧起源史上的重要作用。本文剖析中国戏曲研究禁忌民俗学偏见之特色和由来,再一次阐明《中国戏剧史》提出的“宋元戏剧在从祭祀到戏曲的过渡阶段的关键作用”。在讨论戏剧的起源时,民俗学的眼光与田野调查必不可少;而讨论戏剧的发展时,社会经济史学也成为主要的理论方法,如此才能解决祭祀性戏剧和欣赏性戏剧之间的连续性问题     

满族入关与清前期戏剧文化

在中国戏剧文化发展的历史长河中,由于清廷定都北京而进入了一个新的历史时期。以顺治朝为始,清代前期的戏剧文化、戏曲艺术的总趋势是在不断发展的。其间,清前期的帝王曾对戏剧文化政策进行过一些调整和改变,致使其发展过程几度风雨．几经波折,但是．他们对当时能够代表祖国的主要剧种是积极扶植的,同时,对一些地方戏剧也并不一概排斥．因此,在清前期才出现了如昆曲再度繁盛、《京腔十三绝》、徽班进京等彪炳中国戏剧文化史册的重要篇章。满族人关后的戏剧文化,主要体现在康熙、乾隆两朝,上述几个重要篇章也正是在这百余年内出现…     

焦菊隐和他的“中国学派”

焦菊隐和他的“中国学派”夏淳焦菊隐的一生是为中国戏剧事业的发展有着杰出贡献的一生。他具体接触戏剧是从京剧开始的,他对中国京剧的革新做了不少有益的工作,最早他担任“中华戏剧学校”的校长的时候,在教学内容方面,学校的管理、制度等各方面都做了重要的改革,他...     

唐明皇何以被尊为梨园之神

唐明皇李隆基不仅是一位治国理政的圣明君主,也是一位音乐、舞蹈、戏曲天才。中国的戏曲发展到唐明皇时代发生了革命性的变化,丰富和拓展了戏曲表演艺术的形式和内容,奠定了中国戏剧的初级形态。＂开元盛世＂是中国戏剧形成和发展的里程碑。     

感知莎士比亚对现代戏剧大师曹禺的影响

中国现代戏剧大师曾禺之所以取得辉煌的成就,很大程度受益于莎士比亚的影响。本文结合高中语文人教版编入的莎翁和曹禺的部分戏剧作品,论述了莎士比亚对中国现代戏剧大师曹禺三方面的影响：一是主题思想上的影响;二是悲剧类型上的影响;三是艺术风格上的影响。莎士比亚对曹禺的影响,使曹禺受益匪浅,为汇入世界戏剧之流的中国现代戏剧指明了方向。     

新疆抗战话剧运动概览

中国现代话剧是一个发展迅速并取得了突出成就的文艺样式,从二十世纪初到四十年代,现代话剧经历了发生、发展到迅速走向成熟的历史进程,而且,从北到南,自东向西,现代剧的火种洒在祖国的四面八方。新疆这个地处偏远,交通不便,相对闭塞的地区,在抗战时期,也曾经写下了话剧运动蓬勃发展的一幕,为戏剧运动在少数民族地区、边疆地区的发展提供了一个范例。     

论孟京辉先锋戏剧的时代元素

孟京辉,中国小剧场戏剧的代表人之一。由于小剧场戏剧与传统的戏剧相比,在思想内容上更加大胆、先锋,更具有创新意识和实验性,是中国当代戏剧的一次革新,所以他的戏剧更多地被叫做先锋戏剧和实验戏剧。孟京辉对传统戏剧的改革是颠覆性的,他导演观念的变革使得他的话剧完全不同以往,表现手段的多样化、颠覆戏剧的情节性、舞台空间的扩展,都是他戏剧的主要特点。他的观众群大多是年轻人,因为其话剧的很多方面都比较符合年轻人的审美特点,个性和时尚成为受年轻人追捧的原因,讽刺与幽默戳中了年轻人的神经,看孟京辉的话剧逐渐成为年轻人当中的一种时尚。     

儿童戏剧工作坊的实践研究——以《三只小猪》道具创编为例

<正>戏剧教育是传统义务教育的延伸，对培养儿童艺术素养具有重要的作用，越来越受到人们的重视。本文以对儿童戏剧工作坊的实践研究为基础，从戏剧工作坊开展的意义以及具体的实践案例两个方面，详细介绍了戏剧工作坊，并提出相关策略，旨在为儿童戏剧教育提供一个新的理论和实践视角。     

论《奢香夫人》的艺术成就及其在剧坛上的地位

从剧本立意、戏剧冲突：艺术形象、审美价值进行分析，进而论述剧作家，诠释作品成功的深层因素，认为该剧成功地为我国最著名的少数民族女政治家立传，彰显爱国主义精神，在建国以来戏曲史上占有重要地位。     

Triad Dramas as Commentaries on Revolutionary Disharmony,Totalitarian Nostalgia,and a Yearning for Past Chivalry

In 2007, amateur on-line writer Kong Ergou’s triad novel series, Past Events of the Northeast: Twenty Years of the Triads, became a hit as a piece of network original literature. Five years later, the first volume of the book series was adapted into a network television drama of the same title. Focusing on the television drama, this paper examines three interrelated “dimensions” of the text. The first “dimension” relates to the correspondence between the inception and development of underworld gangs, and the vicissitudes experienced by the Chinese people during the harsh and unprecedented economic and cultural conditions that were introduced during the post-Mao era. A second “dimension” of this dramatic text finds that the nostalgia for and admiration of totalitarian times, together with a postmodern parody and deconstruction of Maoist society and its ideology, are juxtaposed in contemporary popular cultural products such as Past Events, thus demonstrating the complex and obscure emotions of ordinary Chinese people in relation to socialist revolutionary times. The final “dimension” compares the chivalrous spirit espoused by the gangsters with the ever-deteriorating morality and ethical values prevalent in present-day China.     

张謇与近代戏剧文化

20世纪初,张謇在南通创办伶工学社、更俗剧场、梅欧阁、《公园日报》,对中国传统戏剧进行了包括剧场建设、人才培养、表演艺术等方面一系列的革新,对于戏剧改革,他的主张与思想都付诸于创办戏剧事业的行动中,并在内容与形式上呈现了他对戏剧艺术的独到见解。     

Social memory and ethnic identity: Ancient Greek drama performances as commemorative ceremonies

This paper is an ethnographic account of ancient Greek drama performances that take place in contemporary Greece. The material presented here is part of the data that were collected, mainly through participant observation, interviews and newspapers, during 1997 and 1998 in Athens. The paper illuminates an aspect of modern ancient drama performances that has not been taken into account until today: it treats them as commemorative ceremonies that produce, reproduce, and transmit social memory. The interrelation and interdependence between social memory and ethnic identity construction processes are analyzed and is shown that ancient drama performances, due to specific characteristics, constitute something more than mere theatrical events (as they are defined within the Western tradition). These performances, which convey, sustain, and transmit perceptions of a glorious culture of the past, become, for their creators and spectators, as members of an ethnic group, occasions for consciously remembering their ethnic past, and coming, in a way, to a "mythical identification" with it.     

论姚华戏曲理论中的“俗”与“真”

姚华通过大力弘扬戏曲的＂俗＂性所带来的社会教化作用,来放大戏曲的社会价值,从而提升戏曲的社会地位。其戏曲理论中的＂真＂,主要包括＂真情＂与＂真事＂两个层面,所谓＂真情＂,是指戏曲要抒发真情实感,而＂真事＂则涵盖了相应的两层含义：一是戏曲中自然景物描摹的逼真;二是戏曲所叙之事的历史真实性。     

Teatro crítico contra la conciencia en crisis: Nada que perder

ABSTRACT

In this article I introduce how the 2008 financial crisis appears in the Spanish recent drama. Although the impact of the crisis has been studied in other genres and artistic expressions such as narrative, poetry, or comics, this issue needs more attention in Spanish contemporary drama. The article proposes a critical analysis of Nada que perder (Bazo, Romero, and Yagüe, 2016). In this play, we can observe a new perspective of the crisis that not only holds the ruling class responsible for the situation, but also charges the ordinary people with irresponsibility and lack of public conscience.     

时代、实践与主流意识形态:当代中国思想史研究的三重维度

当代中国思想史研究必须把握三重维度:一是探究思想变迁与社会发展的关系,准确把握当代中国思想史的时代维度,因为时代维度决定着当代中国思想发展的主题,决定着当代中国思想发展的历史进程及其方向;二是探究社会实践与思想变动的互动关系,准确把握当代中国思想史的实践维度,因为实践维度决定着当代中国思想发展的高度,也决定着当代中国思想发展的理论深度;三是探究主流意识形态的变迁,准确把握当代中国思想史的主流维度,因为主流维度决定着当代中国思想发展的核心和主脉。     

原始农耕信仰与祖先英雄崇拜的现代展演——湖南新晃侗族傩戏“咚咚推”调查

有"中国戏剧的活化石"之称的傩戏"咚咚推"保存了侗族先民遗留下来的多种傩戏剧目,向世人展现了侗族人民各种繁复有序和神秘有趣的习俗,是侗族先民原始农耕信仰的现代展演;"咚咚推"以盘古大王和飞山大王为傩神,除了在表演时对傩神举行各种请、迎、会、送的舞祭仪式外,演出的剧目也表现了作为移民后代的天井寨人为增强家族凝聚力而保持的祖先英雄崇拜。"咚咚推"作为天井寨人独有的一种戏剧形式,为研究南方民族在迁徙过程中的文化传承与文化交融提供了极为难得而生动的活动文本。     

Transnational Xenophobia in Europe? Literary Representations of Contemporary Fears

Does an enlarged Europe harbor an enlarged fear of foreigners? Has EU expansion produced a bizarre, unintentional convergence in the xenophobic attitudes of eastern and western Europeans? What is the texture of this xenophobia in the different parts of Europe? This article is divided into three parts. First, it summarizes the contemporary European debate on fear of foreigners, antipathy towards immigrants, and the effort to enforce boundaries of national belonging. Second, it provides empirical evidence about national phobias using Germany and Poland as examples. Finally, it assays literary representations of European fears construed by select contemporary playwrights and novelists. The article proposes that the drama of European xenophobia is most effectively captured in the works of European writers, not in the discourse of EU leaders or social scientists.     

Negotiating and queering US hegemony in TV drama: popular geopolitics and cultural studies

This article argues that popular geopolitics should pay closer attention to entertainment television and to the negotiations, complexities, and contradictions associated with contemporary televisual texts. This move requires a closer engagement with media and cultural studies than that initiated to date. In the second half of the article, we discuss the ABC TV drama Commander in Chief, which follows the first female president of the USA, and is set in a post-9/11 world wherein the struggle for US geopolitical domination has become a much more complex endeavor. We end by wondering whether entertainment television might provide us with imaginative resources for queering US hegemony.