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2002年,我在拙作《把神奇的想像变为可以感知的现实——欧美音乐剧舞美设计浅析》(刊于《剧作家》2002年第3期)中,就欧美音乐剧舞美设计的“大制作”问题提出看法,认为“大制作”在西方发达国家不仅无可厚非,而且应当予以充分肯定。但对于中国舞美设计的“大制作”,我认为目前不宜提倡,更不宜推广。写作该文时,虽已拜读过张振先生的《舞美设计“大制作”释疑》(《剧作家》2002年第1期)一文,但一则因为我那篇论文的主旨是对欧美音乐剧的舞美设计进行浅析,对国内舞美设计的“大制作”问题不便多谈,另则也未对国内舞美设计的“大制作”问题进行更多的分析思考,不能多谈。
In 2002, I was in my book “Transforming the magical imagination into a perceptual reality - the analysis of the design of the musicals in the European and American musicals” (published in “Playwrights”, No. 3, 2002) Big production “put forward the view that the” big production “in Western developed countries is not only understandable, but should be fully affirmed. However, for the ”big production“ of China’s stage design, I think it is inappropriate to advocate, let alone promote. While writing this essay, I have read one article by Zhang Zhen about ”Disillusionment“ (”Playwrights“, Issue 1, 2002), but one is that the thesis of my essay is about European and American musicals The design of the stage design should be analyzed. It is inconvenient to talk about the ”big production“ of the domestic design of the stage design, and the other is not to analyze and think more about the ”big production" of domestic stage design.