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千年之交,中国剧坛出现了极有意思的老戏新排的现象。上海有新版越剧《红楼梦》、新版昆曲《牡丹亭》、新版京剧《宝莲灯》、新版沪剧《星星之火》、新版话剧《日出》、《商鞅》,浙江有温州南戏改编系列等等:北京则有新版评剧《金沙江畔》、新版施展《茶馆》等等,据悉全国各地已有多家剧团正准备隆重推出他们剧种的经典作品。最著名的有张艺谋、何训田联手将制作新版《刘三姐》。因何世纪交替之时,老戏如此大规模地重新登台亮相?是文化浮躁症的一种表现,还是走向市场产业化运作的必然?是戏剧原创力的萎缩,还是诠释经典的重新创造?是回到了演唱流派的老路,还是借助经典,推出新人的策略? 疑团重重,我们不妨听听专家学者、剧院制作人、演员们自己及观众四个方面的见解。
At the turn of the millennium, there appeared an extremely interesting phenomenon of the old drama in Chinese theater. Shanghai has a new version of the opera “Dream of Red Mansions”, the new Kunqu Opera “Peony Pavilion”, the new Beijing Opera “Lotus Light”, the new version of Shanghai Opera “Star of Fire”, the new drama “sunrise”, “Shang Yang” : In Beijing there is a new version of Pingju “Jinsha River”, the new display of “teahouse” and so on, it is learned that there are already many troupes across the country are preparing to grand launch of their operas classic works. The most famous Zhang Yimou, He Xuntian will jointly create a new version of “Third Sister Liu.” Because of the turn of the century, the old drama reappeared on such a large scale debut? Is a manifestation of cultural impetuous disease, or the inevitable trend toward the industrialization of the market? Is drama atrophy, or the interpretation of the classic re-creation? Back to the genre of the old school, or with the classic, the introduction of new strategies? Suspicious things, we may wish to hear experts and scholars, theater producers, performers and the audience four views.