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在文化部主办的京剧新剧目汇演中,上海京剧院演出的新编历史剧《曹操与杨修》引起了巨大的反响。获得了一致好评,利用汇演观摩的间隙,笔者拜访了该剧总导演马科同志,就《曹》剧的舞美创作,请他谈谈自己的想法和体会。马科首先从曹操的化装造型说明他的一些想法及创作经过,他说,他设想的曹操有别于传统戏中那种白脸奸相的样子,但在他的导演阐述中又规定必须带铁丝胡子,而不是粘胡子。这实际上就确定了“既是有历史风味的,但又不是考古的”这样一种创作基调。至于艺术上如何搞,马科说,“我与大家商量”。在介绍具体创作过程时,他说,开始曹操的化装太白了,特别是第一场
During the repertoire of Beijing Opera repertoire hosted by the Ministry of Culture, the newly compiled historical play “Cao Cao and Yang Xiu” performed by Shanghai Peking Opera Theater aroused great repercussions. Won the unanimous praise, the use of show the gap between the observation, the author visited the director Ma comrades, on the “Cao” drama of the creation, asked him to talk about his ideas and experiences. He first described some of his ideas and creations from Cao Cao’s make-up style. He said that Cao Cao, as he conceived it, differed from the traditional white-and-blue cult, but in his director’s statement he also stipulated that the “ Iron beard, not sticky beard. This actually confirms the tone of creation that ”is both historic but not archeological.“ As for how to engage in art, Marco said, ”I’ll discuss with you." In introducing the specific creative process, he said that the beginning of Cao Cao costume too white, especially the first