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《戏剧报》关于戏剧艺术创作的主体意识的讨论,触及了话剧创作的实际问题。我拟从表导演两个方面,谈一些拙见。关于表演: 有人认为,探索戏剧的演出,“大量摆脱、废弃台词,而代之以舞蹈动作、人体造型以及象征的画面”,由此断定:“话剧表演艺术的一只手(指台词基本功——引者)被砍掉了。”实际情况是不是这样的呢?从首都舞台上演的一系列探索戏剧来看,事实并非如此。比如大家所熟悉的《WM(我们)》、《野人》、《一个死者对生者的访问》、《初恋时,我们不懂爱情》、《凯旋在子夜》,乃至上海戏剧学院来京演出的《黑骏马》等几出公认为比较成功的探索剧目,虽然每出戏程度不等地加进了舞蹈动作、人体造型、象征性画面,或者还加进了歌唱,但哪一出戏都并没有使对话的成份与这些因素的比重颠倒过来。它们大量使用的,仍然是生活化的台词这一艺术手段。比较例外的是《和氏璧》,它确实是大量采用舞蹈动作、人体造型、象征性画面等艺术因素,其台词几乎全部运
The discussion about the subjective consciousness of Drama Art Creation in The Drama Newspaper touched on the practical problems of drama creation. I would like to talk about some humble opinions from two aspects of the director. About performances: Some people think that to explore drama performances, “a large number of excuses, discarded lines, and replaced by dance movements, body shapes and symbols of the screen”, thus concluded: “a show of drama performing arts (referring to the basic skills - - The lead) was cut off. ”Is not that the case? The fact is not the case with the series of explorations played on the stage of the capital. For example, we all know “WM”, “savage”, “a deceased’s visit to the living”, “first love, we do not understand love”, “triumphal in the middle of the night,” and even the Shanghai Theater Academy to perform in Beijing “Black Horse” and several other recognized as the more successful exploration of the show, although the extent of each play varies into the dance moves, body shape, symbolic picture, or also added singing, but which one of the play and Did not reverse the proportion of the elements of the dialogue with those factors. Their extensive use is still the art of living lines. The exception is the “and Bi Bi”, it is indeed a large number of artistic use of dance moves, body shape, symbolic picture and other elements, the lines almost all of Yun