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话剧民族化,始终是一个又老又新的话题。说它老,是因为早在上个世纪50年代(甚至更早)焦菊隐先生就提出了这个问题;说它新,是因为关于这个问题的争论到今天也没有停止,而且可能还要继续争论下去。焦菊隐先生是中国话剧民族化的开创者,恐怕是不争的事实。其探索之作是在北京人民艺术剧院排的《虎符》(郭沫若编剧),他创造性地、大胆地将戏曲的身段和念白乃至锣鼓点儿都利用到这出戏的排练中。该戏公演后,引起了巨大的反响,赞扬声、质疑声、反对声均有,但他的探索最终还是被多数艺术家和评论家
The nationalization of drama has always been an old and new topic. It is said to be old because Jiao Juyin raised the issue as early as the 1950s (or even earlier); it is new because the debate on the issue has not stopped today and may continue to be debated . Jiao Juyin is the founder of Chinese drama nationality, I am afraid it is an indisputable fact. The explorations are “Hu Fu” (Guo Moruo), a platoon arranger at Peking People’s Art Theater, where he creatively and boldly uses the drama’s characters and readings and even drums and tricks to rehearse the play. After the performance of the show, it caused a great response, praising the voice, questioning voices, and opposition voices, but his exploration was eventually accepted by most artists and critics