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值莎翁诞辰451周年之际,导演吕一安(编剧:曹汝生改编话剧《哈姆雷特》为《谁杀死了国王》),他采取了一种非常特殊的戏剧形式,即“戏中戏”。艺术源于生活,更高于生活。《谁杀死了国王》以一次轻松愉快的排练场景为始,而“谁”杀死了国王这个问题贯穿了始终,他们做着不同的假设,进行一次次的排练、尝试,来确定到底“谁”杀死了国王。全剧做了四种假设,从而出现了四种不同的大的规定情境,但在假设“谁”杀死国王的过程中,小的规定情境随着人物的
On the 451th anniversary of Shakespeare’s birth, director Lu Yian (screenwriter: Cao RuSheng adapted drama “Hamlet” as “Who Killed the King”), he took a very special form of drama, namely “opera”. Art comes from life, higher than life. “Who Killed the King” began with a lighthearted rehearsal, and “Who” killed the king throughout the whole story, doing different assumptions, conducting rehearsals and trying again and again to determine In the end “who ” killed the king. The play made four assumptions, resulting in four different major provisions of the situation, but in the assumption that “who ” kills the king in the process, the small provisions of the situation with the characters