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探索性戏剧拓展了话剧艺术的表现力,改变了话剧演出面貌,并形成一股潮流。但是,当舞台形式翻新的车轮大战进入因袭重复阶段,在多样化的舞台后面又露出了新的模式化的面孔,观众对新形式的兴奋感又趋于平静了。人们重新开始反省那个老问题:面对当代生活和当代现众,还能拿出什么来? 话剧《凯旋在子夜》的演出,使导演舞台演出手法的更新,出现了一个极至。应该承认,导演王贵在此剧的导演处理是具有超前意识的,舞台体现的结果是奇巧精湛的,由此而受到同行们的赞叹。但在赞赏之后,也产生一种不满足感。这种感觉来源于《凯》剧导演构思中的两种重复——舞台手段的重复与惯性导演思维的重复。从《凯》剧的演员无实物生活动作中,看到王贵同志上一部戏的影子;从童川与林大林的争吵配合的炒勺声与木枪拼刺,使人联想上一部戏中用皮带抽打人,配合以甩鞭声。舞台上的铝合金梯子,我们可以在《初恋时,我们不懂爱情》中找到(而《初恋时,我们不懂爱情》中的网子又能在《无
Explorative drama expands the expressiveness of drama art, changes the appearance of drama performance and creates a trend. However, as the redesigned wheel wars of the stage entered the repetitive stage of repetition, new stylized faces emerged behind the diversity of stages, and the audience became more and more excited about the new forms of excitement. People began to reflect on the old question again: What can come out in the face of contemporary life and current contemporary audience? The performance of the play “Triumph at Midnight” made the director’s performance of the stage show more up to date. It should be admitted that the director Wang Gui in this drama director is a forward-minded consciousness, the stage is the result of exquisite clever, thus subject to peer praise. But after complimenting, it also creates a sense of dissatisfaction. This feeling comes from the “Kai” drama director of the two repetitions of the idea - the repetition of stage instruments and repetition of inertial director’s thinking. From the “Kai” drama act without physical activities, I saw the shadow of Comrade Wang Gui’s previous play; from the scramble between the Tongchuan and Lin Dalin, In the belt to beat people, with whipping whip. Aluminum ladder on the stage, we can be found in the “first love, we do not understand love” (and “first love, we do not understand love,” the nets can in the "no