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看过《蔡文姬》的演出,我首先欣赏导演焦菊隐同志能坚持他的看法,而且能在另一个机会,把他的看法贯彻到底。这需要认识,更需要勇气。他是二者兼而有之。所以我一看完《蔡文姬》的演出,马上就写了一篇感兴小文,表示我的敬意。我对他的认识是这样体会的。郭沫若同志的历史剧,热情奔放,词句铿锵,充满极积浪漫主义精神;戏剧性强(有时候陷入为戏找戏),是非性尖锐;处处带着他个人的演说(十三四年前,我听他的演说,像烈火一样燃烧我的心!)情调。但是另一方面,他的剧本并不细贴,词句缺乏对生活的恰如其分的笔致。像是有一阵风,把你带进他的历史世界,不给机会让你细看。他的话剧实质上很像歌剧。他却偏偏写的又是话剧。怎样才能演好这样情调高昂而又有些空疏的历史
Having watched the performance of “Cai Wenji”, I first appreciated that Comrade Jiao Juyin can stick to his views and at another opportunity, carry through his views. This needs to know, need more courage. He is both. Therefore, after I finished watching the performance of “Cai Wenji”, I soon wrote an essay expressing my respect. My understanding of him is that way. Comrade Guo Moruo’s historical play is passionate, sonorous and full of romanticism; dramatic (and sometimes trapped in drama) is non-sharp; his personal speech is everywhere (I heard His speech, burning my heart like a fire!) Mood. But on the other hand, his script is not subtle, the words lack the appropriate written description of life. Like a gust of wind that takes you into his history, does not give you a chance to look carefully. His plays are essentially opera. He has chosen to write another drama. How can we play such a high profile and some empty history