本文選題：西洋戲劇 + 國內(nèi)戲劇舞臺(tái)��； 參考：《戲劇之家》2016年23期

【摘要】：國內(nèi)戲劇市場上外國戲劇引進(jìn)的多樣性、層次性日漸明晰,外國戲劇的引進(jìn)方找到了自己的藝術(shù)與市場定位,其初衷是讓國內(nèi)觀眾不出國門甚至不出城市就能領(lǐng)略到國外不同規(guī)模、風(fēng)格、方向、方式的戲劇作品。但現(xiàn)在這種功能被無限放大,國內(nèi)戲劇市場越來越成為國外戲劇制作發(fā)行和國內(nèi)引進(jìn)方的名利場,你方唱罷我登場,好不熱鬧,對(duì)西洋劇蜂擁來華演出應(yīng)該保持深刻的認(rèn)識(shí)和思考,本文就此現(xiàn)象產(chǎn)生的原因和危害進(jìn)行了深刻剖析,并且根據(jù)亂象背后反映出的國產(chǎn)戲劇創(chuàng)作、推廣中存在必須解決的問題提出了自己的建議。
[Abstract]:The diversity and hierarchy of foreign drama in the domestic drama market is becoming more and more clear. The introduction of foreign drama has found its own art and market orientation. Its original intention is to let the domestic audience not even out of the city to appreciate the different scale, style, direction and style of foreign dramatic works. But now this function has been infinitely magnified, and the domestic drama market is increasingly becoming a Vanity Fair for foreign theatrical production, distribution, and domestic introduction. We should keep a deep understanding and thinking about the western dramas flocking to China to perform. This paper makes a deep analysis of the causes and harm of this phenomenon, and according to the domestic drama creation reflected behind the chaos, Some problems that must be solved in popularization are put forward.
【作者單位】： 天津市藝術(shù)研究所;
【分類號(hào)】：J805
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本文編號(hào)：2048268