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自从“四人帮”被粉碎以来,戏剧舞台上可谓百花齐放,琳琅满目。有些剧目,也曾誉满全国,轰动一时。但作为一个戏剧爱好者,我感到保留剧目太少了。不少作者对一部作品的创作活动在它演出之后,基本上就告一段落;也许它得了奖,或者改编成电影、电视什么的。时过境迁,大家虽然经常提到它,但看不到它在本子上继续精益求精,在舞台上千锤百炼,成为广大群众能经常观赏的佳品。联想起某些世界戏剧名作和我国优秀古典戏曲,是那样在舞台上经久不衰,观众百看不厌。这除了由于原作基础很好外,还同历代艺术家不断加工它、丰富它、润色它,有着密切关系。象《西厢记》、《牡丹亭》、《桃花扇》等,它们都是经过历代改编者和表导演艺术家的不断加工,越来越放射出艺术的光辉。
Since the “Gang of Four” has been crushed, the drama stage can be described as full bloom, dazzling array. Some repertoire, also known as the country, sensational moment. But as a theater lover, I feel that there are too few reserved plays. Many authors write about the work of a work after its performance, basically come to an end; maybe it won the prize, or adapted into movies, television or something. The passage of time, although we often mention it, but can not see it in the book to continue to excellence, thoroughly tempered on the stage, as the masses can often enjoy the best products. Think of some of the world's masterpieces of theatrical works and our outstanding classical drama, so enduring on the stage, the audience never tire of. This is not only because the foundation of the original works well, but also with the artists in the past to constantly process it, enrich it, polish it, are closely related. Such as “The West Chamber”, “The Peony Pavilion”, “Peach Blossom Fan”, etc., they are all through the successive adaptation of the table and director of the artist's continuous processing, more and more radiate artistic glory.