论文部分内容阅读
在现代文化艺术发展日新月异的今天,人们的审美情趣发生了巨变。传统的“空纳万境”、“一桌二椅”单一的戏曲舞台艺术将不能满足现代这个多极多元化的时代要求。为此摆在我们舞美设计人员面前的任务是极具挑战性的,要准确地揭示主人公的心理情绪,渲染情境,则须从形式、形象、语汇、空间、环境等进行探索。作为戏曲舞台美术设计师,要与时俱进,不断创新,要善于给自己出新课题,通过每一部剧目的设计,不断超越自己。我在《乌江泪》的舞美设计中就是这样做的。《乌江泪》描写的是西楚霸王项
Today, with the rapid development of modern culture and art, people’s aesthetic taste has undergone tremendous changes. The traditional stage art of “empty Nanyu” and “one table and two chairs” will not be able to meet the requirements of the multi-polar modern era. For this reason, the tasks that we pose to the designers should be very challenging. To accurately reveal the protagonist’s psychological emotions, we must explore the form, image, vocabulary, space and environment. As a drama stage art designer, to keep pace with the times and innovate constantly, we should be good at giving ourselves a new task and constantly surpass ourselves through the design of each play. I did this in the design of Wu Mei Tears. “Wujiang tears” describes the West Chu King items