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本刊第七期发表了英若诚《我们需要演出家》一文,提出了当前剧团经营中的一个重要问题。同期,我们还发表了《探索话剧的生路》,与英若诚文章相配合,介绍了《搭积木》剧组自筹资金来京演出的情况,那次演出的经理人是位演员,名曰仲华。这里,我们再向读者介绍一次社会性演出和一位演出经理人。唐斯复是《文汇报》记者,这次她“下海”客串,当了一次演出经理人,显然干得还不错,至少她自己感觉挺滋润,她的结论是:“此路可通”。目前,人人都说话剧不景气,演出太艰难。确实是苦,是难。但是,偏偏在全国地无分南北、团不论大小,经营剧团都感到很艰难的情况下,社会化演出却一而再地涌现,+分活跃,这其中怕是有些什么必然因素。同时,这种社会化演出对目前“双轨制”剧团体制下自负盈亏的那一轨,会有许多启示性的意义和经验可资借鉴。故此,我们将来自《悲悼》剧组的信息发表出来,供大家参考。
In the seventh issue of the journal, Ying Ruocheng published an article entitled “We Need a Performance Artist” and raised an important issue in the current operation of the troupe. In the same period, we also published “The Path to Exploring Drama”. In conjunction with Ying Ruocheng’s article, we introduced the situation in which “take building blocks” self-financing funds came to Beijing to perform. The manager of the performance was an actor, China. Here, we introduce the reader to a social performance and a performance manager. Downs was Wen Wei Po’s reporter. This time she “came down to the sea” as a performance manager. Obviously she did a good job. At least she felt very moist. Her conclusion was: “This route works.” At present, everyone says the drama is sluggish and the performance is too difficult. Really bitter, is difficult. However, despite the country being divided into north and south, regardless of the size of groups, management troupes feel very difficult circumstances, social performances have emerged again and again, + active, which are afraid of what are the necessary factors. At the same time, this kind of social performance will have many enlightening implications and experiences to draw lessons from the present situation of self-financing under the current “two-track” theater corporation system. Therefore, we will publish the information from the “mourning” crew for your reference.