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看北京人民艺术剧院的三幕四场话剧《女儿行》(刘锦云、王梓夫编剧,金犁导演),仿佛有一股清新的风从舞台上吹来。它写得象生活那样自然、真实、丰富,又显示着作者自己的艺术个性。这几年看话剧的人越来越少了。我的印象是:时代前进了,可是话剧却在那里迈四方步。不少剧目还不能摆脱长期形成的千篇一律、毫无生气的创作模式。这样的戏谁个能爱看呢?从这个意义上讲,尽管《女儿行》还不是一部成熟的剧作,存在着这样那样的缺憾,但我赞赏它的创作者们努力突破创作模式的勇气。《女儿行》描绘了我国农村一家两代人近三十年的命运变化,题材算不得重大或新颖。然而它写出了生活的丰富和复杂;作者从自己的观察角度塑造了几
See Beijing Peoples Art Theater’s three acts of four plays “Daughter” (Liu Jinyun, Wang Zi Fu screenwriter, Jinli director), as if there is a fresh wind blowing from the stage. It is written as natural, real, rich as life, and shows the artist’s own artistic personality. Few people watch the drama in recent years. My impression is: the times go forward, but the drama is there. Many repertoire still can not get rid of the long-term stereotyped, lifeless creative mode. In this sense, although “daughter’s line” is not yet a mature drama, there are such shortcomings, but I admire its creators for their efforts to break through the mode of creation courage. “Daughter’s Row” depicts the changes in the fortunes of a country’s two generations of rural families in the past three decades, with no major or new themes. Yet it writes about the richness and complexity of life; how many of the authors have shaped themselves from their point of view