The long history of drama has repeatedly proved that no matter how superb the director's acting skills and dancing beauty are, the support of script literature can be lost. The decline of screenwriter's status and the lack of literariness are extremely dangerous to the development of drama art. Although action is the most fundamental feature of drama, the success of action innovation will make the performance shine beyond the charm of literature and make the whole theater full of emotional tension, but such charm and tension will not have high-level lasting charm without the support of script literature. Wang Zhongxian, the explorer of early drama, has realized that "there are perfect scripts in the world, and then there are new drama masters". At present, the phenomenon that there are few original dramas and scripts is scarce has aroused people's worries, which also makes the author look forward to the measures for cultivating screenwriters in colleges and universities. The birth of a truly outstanding playwright is a long process, and the cultivation of colleges and universities may only be two preparations for students to become playwrights.
The first preparation I want to talk about is a hot topic in the drama field recently, which is NTU's original school play "The Face of Jiang Gong". By the end of May, 20 13, the play had performed 65 times, and the box office also exceeded 1.5 million. At first, because the play didn't seem to cater to the market, many people asserted that it couldn't perform 10. In this regard, director Lv Xiaoping replied: "If there are only eight or nine people left in the theater, then we will perform eight or nine people." At that time, the author was moved by their persistent attitude. However, with the social recognition of Jiang, its creative team seems to be gradually satisfied with the praise of "inheriting the context of the May 4th Enlightenment" and "the best comedy in decades". Although the creative team sincerely admits such defects, it only leaves the rhetoric of "limited ability and inability to change" and then rushes to the next stop with great success. It has long been said that "Jiang Gong Face" has made "Nantah Face", but has it also destroyed Nantah's fine tradition of rigorous scholarship? Even though the screenwriter Jiang himself has always been low-key and plain, he can't see the slightest arrogance, but he reminds me of the professor's warning: "The distinction between screenwriters and screenwriters is not absolute, they will transform each other. As a novice screenwriter, he may imitate too many famous screenwriters, so his originality is not obvious, giving people the impression of "screenwriter". But if he is really talented and willing to work hard, he will grow into a playwright. On the contrary, a talented playwright, after his success, is easily influenced by the world's customs, prone to kitsch, quick success, loss of spirit and free creative mentality. At this time he will change from a playwright to a screenwriter. "
Cooling down the impetuous creation needs to start from the campus. If even the campus has been corroded by utilitarianism and drama education is eager for quick success, how can the future of drama art not be more worrying? Just imagine, can those students who are often written "desk" plays according to their heads before the real flowers of literature and art bloom in their hearts become real playwrights in the future? Colleges and universities should spend less time on business social practice, writing suitable works, reporting performances and awarding prizes, and pay more attention to literature itself, so as to cultivate students' personality preparation to become playwrights: pursue artistic specialization indefinitely, take the healthy development of drama art as their own responsibility, and consciously abandon the negative influence of business supremacy and entertainment supremacy, thus forming a virtuous circle of drama education and drama ecology.
With the preparation of personality, the next step is academic preparation. The realm of a playwright determines the character of a play, and the academic preparation for becoming a playwright should include both inside information and poetry. Most details come from common sense, and poor knowledge often leads to poor thinking. Universities may wish to offer more courses such as social psychology, aesthetic history, contemporary philosophy and cultural anthropology. It can enrich the details of opera students more than directing acting classes. Most poems come from sensibility. Our students have been trained by exam-oriented education for a long time in primary and secondary schools, and generally lack creativity and imagination. If you only learn all kinds of screenwriter skills during the period of higher education, it is easy to be influenced by the formulaic and conceptual creative atmosphere of drama, or follow the trend to create popular themes, thus embarking on the road of screenwriter. There are no two identical leaves in the world. Don't be formulaic in drama creation, and don't follow suit. Traditional ideas and established paradigms have more or less influenced the dynamic role of the creative subject. Stanislavski put forward the method of "liberating nature" to train actors and restore their lost temperament. In the process of cultivating screenwriters, it is also necessary to advocate a kind of "liberation of nature" in literary thought: fully advocate the dynamic role of creative subjects, encourage students to bravely pursue self-realization in their works, and make the art form full of real originality.
For this reason, the author thinks that reading plays and watching plays should be the main courses for junior students. On the one hand, students can watch a large number of Chinese and foreign classic dramas and current international experimental dramas, and let them appreciate and summarize them carefully. On the other hand, they can stimulate students' narrative desire and guide their writing practice with their own experiences. After students have their own drama concepts, mastered certain writing skills, and have some literary and even philosophical connotations, they will learn the rules and skills of drama. The teacher will lead the students to consider the characters, plot, structure, rhythm and other aspects in the exercise one by one, and help them analyze whether the skills in the exercise are properly used. Finally, the students will judge which skills should be taken and which should be abandoned. However, as far as the theme and connotation of drama are concerned, teachers should help students analyze whether the exercise conforms to the artistic vision, humanistic spirit and philosophical character, because this is the key to whether a drama can radiate lasting light. At present, there is a common phenomenon in the performances of many commercial dramas and campus dramas, that is, the excitement of the audience sometimes stays on online jokes, love and even swearing, which requires our drama and drama education to undertake or provide more, and then gradually form a benign interaction between watching and performing.
Let perceptual courses replace rational paradigm, let literature and philosophy form the basis of drama education, and let aesthetics and sensibility achieve poetic feelings of drama. With the growth of a generation of talented screenwriters with profound knowledge and flying thoughts, we believe that in tomorrow's drama stage, there will be few people with formula concepts, few people with high platform education and rational suffocation, and few stage violence that forcibly amuses the audience. We will have a quiet theater full of humanistic feelings, philosophical meditation and deep breathing of the soul.
Yang
Source: Newspaper 2065438+June 26th, 2003.