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1986年冬,福建仙游鲤声莆仙戏剧团晋京演出三台新戏,非常引人瞩目的是,这些戏都出自青年剧作家郑怀兴的手笔。戏尽管看得有点费力(这里也有语言隔阂的缘故),仍然使观众感到很大兴趣。无论是历史悲剧《新亭泪》和《晋宫寒月》,或是现代喜剧《鸭子丑小传》,都是面向今天,从历史与现实的交织中,突出剧中人物的心理描绘,抒发作家对现实人生的感受和认识,烙刻着时代精神的印记,主体意识相当鲜明。关于历史题材的《新亭泪》和《晋宫寒月》,郑怀兴曾经“理直气壮、直言不讳,大胆承认自己是从现实感受出发,去从事历史剧创作的”(《历史剧是艺术作品,不是历史教科书》,载《戏曲研究》第十六辑)。至于现代题材的《鸭子丑小传》,就更是有感而发的了。郑怀兴是带着十年浩劫中养成的忧患意识,在党的十一届三中全会以后开始走向舞台的。他
The winter of 1986, Fujian Xianyou Lei Sheng Puxian drama troupe Jin Jing performed three new plays, very striking is that these plays are from the young playwright Zheng Huai Xing’s handwriting. Although the show was somewhat laborious (there was also a language gap here), the audience was still very much interested. Whether it is historical tragedies such as “Xin Ting Tears” and “Jin Mi Han Yue”, or modern comic ducks and ugly biographies, are all oriented toward today. From the interweaving of history and reality, we can highlight the psychological depiction of the characters in the drama, Real life’s feelings and understanding, branded with the imprint of the spirit of the times, the main sense of a very clear. On the history theme of “New Pavilion Tears” and “Jin Han Moon,” Zheng Huai-sheng once “justifiably, outspoken, boldly admitting that he is starting from the reality, to engage in the creation of historical drama” (“historical drama is a work of art, not a history textbook” , Contained “opera research” sixteenth series). As for the modern theme of “duck ugly biography”, it is even more a sense of the hair. Zheng Huai-xing, with her sense of urgency developed in the devastation of the decade, began to move toward the stage after the Third Plenary Session of the 11th CPC Central Committee. he