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本期的两篇“文化热点”大文章,均与戏剧有关。前者事关“京剧姓京”的问题,后者涉及“莎剧姓莎”的疑问。我们不妨从“京剧姓京”说起。台湾国光剧团给上海的观众带来了耳目一新的剧目,也带来了争辩不休的话题。一边厢,系列新编京剧“伶人三部曲”不但吸引了传统戏迷,还赢得了时尚人士,市场叫好;一边厢,对“京剧新美学”的责难也不绝于耳,最典型的评点是:编剧裁剪颇见巧思,但和京剧无关;演员表现颇见才华,但和京剧无关;导演调度颇见匠心,但和京剧无关;赢得喝彩的表演,则和经典有关,和京剧有关!一言蔽之,所谓的京剧舞台剧,正
This issue of the two “cultural hot ” big article, are related to drama. The former concerns “Peking opera surname Beijing ” question, which involves “Shakespeare surnamed Sha” question. We may as well start with “Peking opera surname Beijing ”. The Guoguang Theater in Taiwan brought a refreshing repertoire to Shanghai’s audience and brought a heated debate over it. On the one hand, the series of new Beijing opera “The Trilogy of the actors” not only attracted the traditional opera fans, but also won the fashion people, the market applause; one hand, the “Peking opera new aesthetics,” the censure is endless, the most typical comment Is: the screenplay cut is quite ingenious, but has nothing to do with Peking Opera; actors quite impressive talent, but nothing to do with Peking opera; Director scheduling quite understand the originality, but nothing to do with Peking opera; won acclaim show, and the classic, and Peking Opera related! In short, the so-called Beijing drama stage, is