目   录

说北京人艺的风格………………………………………………廖  奔5

“不逢其时”的戏剧悲歌

––对“国剧运动”的再认识………………………………马  衍18

中国剧运影响下的香港话剧……………………………………梁燕丽26

从《戏剧研究》看中国剧坛对斯坦尼体系的接受……………段  丽35

论苦干剧团借鉴戏曲的原则与策略……………………………穆海亮46

寂寞的哀愁与冰冷的讽刺

––徐訏喜剧艺术论…………………………………………赵建新56

中国影戏声腔综论………………………………………………张冬菜64

潮州皮影渊源考…………………………………………………邓琪瑛78

清初传奇《双星图》的本事考证………………………………颜建真87

温州鼓词中的娘娘词……………………………………………李  葳91

西班牙内战时期的戏剧概况……………………………………卜  珊101

彼得·布鲁克与《暴风雨》……………………………………邓小玲114

香港的焦虑：政治意识、“再殖民”及其身份认同的前瞻

––以《建国大业》、《风声》在香港的传播为核心………陈林侠127

哈姆雷特机器……………………………………………海纳·米勒著138

                                                      张晴滟译  郭旦校

Contents

The Style of Beijing People’s Art Theatre……………………………………Liao Ben

Rethinking the National Drama Movement ……………………………………Ma Yan

Hong KongDrama Movement: Under the Influences from the Mainland…Liang Yanli

Reception of Stanislawski’s System in China seen in Theatre Studies…………Duan Li

Borrowing from Chinese Traditional Operas: Principles and Strategies of Kugan Troupe

………………………………………………………Mu Hailiang

On Xu Xu’s Art of Comedy ………………………………………………Zhao Jianxin

Shengqiang of Shadow Play in China: A Survey ………………………Zhang Dongcai

Where Did the Shadow Play in Chaozhou Originate ……………………Deng Qiying

The Archetype of “Romance in Heaven”………………………………Yan Jianzhen

“The Legend of Goddess” in Wenzhou Drum Ballad…………………………Li Wei

Spanish Theatre during the Civil War …………………………………………Bu Shan

Peter Brook and The Tempest …………………………………… ……Deng Xiaoling

Hong Kong’s Dilemma: Political Awareness, Re-colonialization, and Prospect of Identity Building——A Discussion Based on Hong Kong Audience’s Reception of The Founding of a Republic and The Message                                     

…………………………………………………………………………………………Chen Linxia