上海戲劇舞臺三十年

Shanghai Theatrical Stage in Thirty Years: from 1970s to the Present

六七十年代的「文化大革命」時期，在中國的舞臺上只有八部「樣板戲」在反復演出。這些面目相似的劇目的多次重複，令人生厭。八十年代中國走上了改革開放之路，當國門打開的時候，西方的潮流猛烈地衝擊了中國的固有文化。戲劇界臨危思變，試圖走出困境。上海的劇人，在不到十年的時間裏，把西方戲劇家一個世紀所創造實驗的各種流派都「玩」了一遍。如果說，上海的戲劇在八十年代重新走進世界二十世紀的文化潮流，那末，九十年代的戲劇則有更多的屬於自己的文化追求。我們的劇人正在告別二十世紀，而走向新的世紀。這種新的藝術創造，既體現了世界潮流和國際水準，更充溢著中華氣派和東方精神。九十年代的藝術創造迎來了新世紀之初中國傳統戲劇的新生。

During the time of the Great Cultural Revolution in the 1960s and 1970s, there were only eight revolutionary model plays (Yangban xi) being performed on the Chinese stage over and over. The repetition of these plays, which greatly resembled each other, provoked a feeling of repulsion amongst people. In the 1980s, China launched the policy of reforming and opening to the outside world. Opening up a torrent of western influences had an aggressive impact on indigenous Chinese culture. Chinese theatrical circles, on the verge of crisis, attempted to make changes to extricate themselves from this difficult position. Within less than a decade, theatrical practitioners entertained the practices of almost all the dramatic theories and schools developed by western dramatists over a century of creation. If we can say that Shanghai theatre in the eighties had caught up again with the world’s cultural situation of the 20th century, then the theatre in the nineties pursued more of its own cultural possessions. Our theatre professionals were waving farewell to the 20th century while stepping into the new era in the meantime. The kind of fresh and new artistic creation not only reflected world trends and international standards, but was even sparkled with Chinese manners and East Asian spirit. It can be concluded that it was with the preparation of the artistic work of the nineties that brought in the rebirth of Chinese traditional opera at the beginning of the new century.