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我以为,张曼君的艺术追求,实践路径对于当代中国戏曲的革新发展具有某种特殊的意义。一般来说,一个成功或曰优秀的导演,应当解决好以下三个关系:一是导演和演员的关系。导演是统筹全局的,他要将文本的立意、情节、布局呈现在舞台上,要对演员的表演提出规范性的要求。但戏剧是表演的艺术,突出演员的表演艺术应是导演的第一要义,正如前苏联戏剧教育家丹钦科所说,“导演必须死在演员的创造力里。”因此,一个优秀的导演,既要贯彻自己的导演意图,又要尊重、调动、发挥演员的表演才能。
I think that Zhang Manjun’s artistic pursuit and practice path have some special significance for the reform and development of contemporary Chinese opera. In general, a successful or excellent director, should solve the following three relationships: First, the relationship between director and actor. The director is to co-ordinate the overall situation, he wanted the text of the conception, plot, layout presented on the stage, the performance of the actors to make normative requirements. But drama is the art of acting, and the performer’s performance art should be the director’s first and foremost meaning, as Danchenko, a former Soviet theater educator, said: “The director must die in the actor’s creativity.” "So an excellent Of directors, it is necessary to implement their own director’s intentions, but also respect, mobilize and give full play to the performers’ performances.