After 1949, this process was accelerated by the influence of Soviet drama thought.
After the founding of New China, especially since the new period, the achievements and explorations in art have attracted people's attention, and the status of drama and dramatist is unprecedented.
But at the same time, the depression of drama development and the difficulty of survival are increasingly exposed. There are many reasons for this situation, such as cultural diversity, complicated art, different scientific and technological months, accelerated pace and diverse tastes. The "boss" position of drama no longer exists, which are all important reasons for the drama crisis. The transformation and development of drama itself is the main reason for this situation. Are there other factors besides subjective and objective reasons? The above factors are easy for us to think and consider. Although everyone has different understanding and interpretation positions, the focus is not bad.
We believe that in addition to the above subjective and objective factors, there is another important aspect that cannot be ignored, that is, the ecological environment of the theater and drama.
Drama is a kind of stage art, its original ecology is a kind of square art, temple fair art and sacrifice art, and its performance is an artistic presentation, or a kind of popular culture and social culture.
In this way, it is not only in the sense of behavior, but also in the level of spirit and thought.
The ecological problem is not only a matter of one creation, but also a matter of two creations, and it is not only a formal communication between actors and audiences. It is the participation and integration of drama that has ontological life significance for people. The so-called "fish live in water to see" is just like the meaning of water to fish. Without water, there would be no fish and no fish life. The reality of drama is that its "field" and its ecological environment have been changed and destroyed.
The development of drama is not entirely at one level, and its ecological situation is not exactly the same. Generally speaking, the process of drama refinement has fundamentally abandoned the folk drama ecology and alienated the people.
Drama is essentially a kind of folk art, and its gestation, occurrence, development and evolution are all realized among the people. For people, drama is not only an art, but also a life closely related to their spirit.
For them, watching a play is not only appreciation, but also a way to feel life; For them, drama is an indispensable part of their life, on the stage, in the square, at the temple fair, in their life and spirit.
The performance incorporated their beliefs, sacrifices and customs. They are not only spectators, but also participants and practitioners.
Drama is closely related to people's life, belief and spiritual pursuit, which is the secret of China's endless drama and long life.
It is more extensive than what we generally know as "pan-drama", because it is a drama "field" and a drama ecological environment, and "pan-drama" relies on such an ecological environment.
From "pan-drama" to the emergence of "real drama" that Wang Guowei thought, China's drama (drama) has a unified, clear and scientific definition, which has changed the indiscriminate use of "pan-drama" and "zaju" in the past. Its normative and scientific significance is still evident today, but to a certain extent, it narrows people's ideas and ignores and alienates the ecological environment of drama.
Obviously, the development and fate of drama are closely related to the ecological environment of drama. In the new century when drama is integrated and national art is emphasized, the drama ecology, like the ecology of the whole country, needs to return farmland to forests and find its source.
In reality, drama goes to the market and folk, and a lot of work has been done to restore the ecological environment of drama. Some things that accompanied performances in the past, such as sacrificial ceremonies, wedding celebrations, promises and rewards, folk customs, etc. The revival, dramatization and artistry have faded, which shows the importance of drama ecological construction. What kind of ecological relationship can be discussed, but don't ignore this ecological environment construction and ecological balance.
2/kloc-0 At the beginning of the century, there were hundreds of folk troupes in a city, especially in many coastal areas, which was in sharp contrast to the continuous shrinking of the city. Of course, the folk drama market at that time was not stable and mature, and it was still in a transitional period, but the appearance of this phenomenon deserves our attention and research. We have long neglected the laws of art and market, and the realistic development of folk drama has given us positive enlightenment. The development of drama will follow the laws of art and market.
Third, the multi-level and multi-channel development of drama.
Our basic view on the development of drama is that in the new century, under the condition of market economy, drama can follow the laws of drama art itself.
Over the years, we have often said that we should act according to the laws of art, but in fact, all kinds of non-artistic concepts above art have seriously hindered and distorted the artistic development of drama. This influence and shadow have not been exhausted so far, and the process of market is also the process of drama self-realization. Of course, driven by the pursuit of economic interests, there will be contradictions and conflicts with art, but as long as there are policy provisions and rational research guidance and adjustment, the development of drama will not be divorced from itself, nor will it cause.
Only then, we should be optimistic about the future and future of drama.
The development of drama needs economic support and "cultivation", especially those that represent national characteristics or regional characteristics but do not necessarily have market benefits. However, in the name of "public welfare", we can't bring drama back to the planned economy era as an artificial "track"-we should also pay attention to those artificial behaviors that are under the slogan of care and love and don't follow the law of artistic development.
Obviously, the development of drama is in a new period of change and transformation, and the old bondage and old system will be completely changed. In such a historical period of transformation and integration, the problems exposed by the development of drama are also fundamental, and the rapid development of the times and the conflict and collision of drama are particularly conspicuous, which seems to make some people with "anxiety consciousness" feel that drama has been used up-after all, it has been popular for thousands of years. "The past century has completed the voyage from cultivating the brilliance of drama to basically burying it" (bid farewell to the drama century), but I don't know that the unique charm of China's drama lies in its tenacious vitality, which is determined by China's cultural spirit. It is different from Brahma drama in ancient Greece, Rome and ancient India. It is a flash in the pan in the long river of history and is hard to find.
How many times of historical evolution and cicada slough, drama has always been closely related to the times and the public, and has become a popular art in different times. Of course, its glory is not only in the 20th century, but its cultural spirit and metabolic mechanism are the guarantee for the play to remain youthful and energetic forever.
There have been many crises, ups and downs and victories in the development of drama in history, but the waves behind the Yangtze River push the waves before, and the green hills can't cover it. After all, it flows east.
The crisis of contemporary drama is profound. The destruction of drama law, drama mechanism and drama ecology not only makes drama unable to track the development and changes of the times, but also retrogresses. The times and society are changing with each passing day, science and technology are advancing by leaps and bounds, the class gap is suddenly widening, people's feelings are suddenly declining, and it is difficult for drama to make a difference.
Drama needs reform and development, and the new century provides possibilities and conditions. Under the background that UNESCO attaches importance to the oral and intangible heritage of mankind, and China attaches importance to the protection of national folk culture and implements the national stage art boutique project, drama (drama) as a national art will receive attention and concern, but the development of drama cannot be generalized. Because of the different regions, operas and audiences, we should explore them in different levels and ways.
Among them, traditional operas may have great variations and new varieties appear. It seems that "dramatization" has become a kind of shackles and shackles of drama exploration and reform to some extent. There should be no programs on the road of drama exploration. A deep tradition is a good thing, but it should not be a burden. You can't lose the essence of traditional art if you want. So more often, we are well-intentioned and respect the traditional "drama".
Reform and exploration should not be the mantra of all of us, but should be practical practice, encouraging originality and allowing rebellion.
We should not delay the drama because of our "love" for it-it should be a change of concept.
The development of drama in the new century should be divided into many levels and ways. It can be divided into four forms. First, the quality of works is the symbol of the existence and development of drama as a contemporary art, and it is the basic form of drama creation and development. It emphasizes literariness and artistry, encourages innovation, and aims to enter the national art stage.
The second is marketization. Under the condition of market economy, the only way for the development of drama and opera is the market.
Without the market, there would be no drama and no opera.
Marketization is not only to survive and find audiences, but also to act according to the laws of art.
Marketization is more universal to the development of drama.
Third, culture, drama and traditional Chinese opera come from the people and take root in them. Drama performance is accompanied by folk customs, customs, beliefs and religions, which is its inherent cultural attribute.
Eliminating the cultural attribute of traditional Chinese opera is tantamount to stripping the foundation on which folk drama depends for survival and development.
Fourth, cultural relics, some operas have no market viability and no audience, but their existence has even been brilliant. As a relatively complete opera, when it is on the verge of extinction, * * * and cultural departments at all levels should not let it die, but should protect it as a "museum art" and give full play to its history, cultural relics and even tourism resources.
The road of drama development is still arduous and long, but it is not without a future. 2 1 century drama will have its glory and prosperity in the competition of multiculturalism and various arts. Of course not the only one. The era of outstanding performance has passed, but there is no doubt that it has its optimism. I firmly believe.