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我国的戏曲艺术,作为民族传统文化的组成部分,可以追溯到春秋战国时期。每当我们学习、探索、考证这两千多年的戏剧发展史的时候,可以如数家珍地列述始于优孟、继而有东方朔,然后是王实甫、高则诚、关汉卿、汤显祖等,却偏偏未见有“导演”其人。但戏剧作为一种综合性的、特别是以舞台演出为表现方式的空间艺术,从文学脚本到剧场演出之间,竟没有阐释并体现剧本主题,将歌、舞、科、白总其成,赋以形,付诸演出的中心人物,那简直是不可思议的事情。对于这个问题,前辈艺术家焦菊隐、欧阳予倩
As an integral part of national traditional culture, the Chinese opera art can be traced back to the Spring and Autumn Period and the Warring States Period. Whenever we study, explore and research the history of dramatic development for more than two thousand years, we can start with Yu-Meng and then Dongfang Shuo and then Wang Shi-fu, Gao Ze-Cheng, Guan Han-Qing and Tang Xian-Zu, “Director” of their people. However, as a kind of comprehensive space art, especially the performance of theatrical performances, drama has never explained or reflected the theme of the play from the script of the script to the performance of the theater, It is simply inconceivable to give shape to the central figure in the show. For this issue, the older artist Jiao Juyin, Ouyang Yuqian