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今年入夏以来,北京舞台上接连出现了几台引人注目的话剧演出,有人用“排浪”来形容这些创新之作给人们带来的冲击力,是有道理的。正当人们为话剧不景气现象忧虑的时候,这些戏的出现确实使人感到鼓舞。北京人艺《野人》的演出,似乎可以看作是今夏这股排浪的发端。该剧作者和导演,在实践其戏剧观念的道路上,执著地进行着新探索。《野人》以与从前惯常见到的话剧全然不同的面貌脱颖而出,显示了卓然不群的艺术个性。诚然,对《野人》创新成就的估计上存在着不同看法,但我认为,《野人》演出后所引起的争论本身,恰恰证明它的意义和价值。其后,在布莱希特学术讨论会期间,人们又看到了几出布氏名剧,其中尤以青艺演出的《高加索灰阑记》最令人瞩目。它把布氏演剧理论同我国传统戏曲美学原则,甚至是具体表现手段结合起来,在向中国观众介绍外国流派的名作上,做了大胆的新探索,而且艺术上统
Since the summer of this year, there have been several dramatic performances on the stage in Beijing. Some people use “wave-rowing” to describe the impact these innovative works have on the people. This makes sense. While people are worried about the slump in drama, it is indeed encouraging to see the emergence of these plays. Beijing folk art “Savage” performance, seems to be seen as the beginning of this wave of waves this summer. The playwright and director, in the practice of their dramatic ideas on the road, dedicated to carry out a new exploration. The Savage stands out from the completely different face of what was once commonplace in the past, revealing the distinct artistic personality. It is true that there are different opinions on the estimation of the accomplishments of the savages, but I think the controversy that arose after the “Savage” performance itself proves its significance and value. Later, during the Brechtian symposium, people also saw several famous plays of Brothers. Among them, “Caucasus” was the most remarkable show ever performed by Youth Arts. It combines Brigitte’s theory of drama with the traditional Chinese aesthetics of theatrical theory and even concrete means of expression to make bold new explorations on masterpieces introducing foreign genres to Chinese audiences,