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1982年,北京人艺将瑞士德语剧作家迪伦马特的代表作《贵妇还乡》1首次搬上中国舞台;33年后,蓝天野重新执导该剧,主演由朱琳、周正、吕齐换成了陈小艺、濮存昕、张志忠。本文试图通过两次差别不大的演出版本,评析舞台二次创作对此“怪诞”剧作的呈现效果。一、“怪诞”的世界观与方法论导演蓝天野在此次复排的演出节目单中说:“天才的德语剧作家迪伦马特说自己不是荒诞派。但他的创作确实很怪异,人们总能从他的戏剧里感受到今天的现实
In 1982, Beijinger Art was the first Swiss master German writer Dylan Matt’s masterpiece ”homecoming“ 1 for the first time on the Chinese stage; 33 years later, Blue Amano re-directed the play, starring by Zhu Lin, Zhou Zheng, Lv Qi replaced Chen Yi, Pu Cunxin, Zhang Zhizhong. This article tries to analyze the presentation effect of the second creation on this ”bizarre “ play through two different editions. A, ”grotesque“ world view and methodology Director Amano said in the rehearsal of the performance program: ”Genius German dramatist Dylan Matt said he is not an absurd, but his creation is really weird , People can always feel the reality of today from his drama