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对待传统剧目,我一直主张要先继承后创新,在继承的基础上,结合自身条件和观众的审美需求做一些有益的创新,这是历史发展的必然趋势。但是这个创新一定要符合人物需要,符合剧情,要把握一个“度”,“太过”或“不够”均不好。现结合《花木兰》一剧,谈谈我的一些体会。《花木兰》是我团2004年新排的常派经典剧目,我在剧中饰演花木兰。接此任务后,我自感压力很大,一是观众太熟悉这个戏,又有诸多名家演绎过,演不出新意来,很可能会出力不讨好。再则这个戏需要演员具备扎实的基本功,唱、念、做、打须样样过硬才行。不过有压力是件好事,可以变压力为动力,督促我向新的艺术高峰去攀登。
To treat the traditional repertoire, I always advocate that we must first inherit and innovate, and on the basis of inheritance, combine with our own conditions and audiences aesthetic needs to do some useful innovations, which is the inevitable trend of historical development. However, this innovation must conform to the needs of the characters in line with the story. It is not good to grasp a degree, too much or not enough. Now combined with “Mulan” a drama, talk about some of my experience. “Mulan” is my group’s new row in 2004, often sent classic repertoire, I play Mulan in the play. After this task, I feel a lot of pressure, first, the audience is too familiar with the show, there are many famous interpretation, could not play a new idea, it is likely to thankless. In addition, this play requires the actors to have a solid basic skills, singing, reading, doing, and playing a good job. However, the pressure is a good thing, you can pressure-driven, urge me to climb to the new peak art.