论文部分内容阅读
在纪念焦菊隐先生八十诞辰和逝世十周年的时候,重新欣赏他执导的《蔡文姬》第二幕,是颇有感触的。如果说“耍形式”的话,大约这幕戏真是“耍到家”了。这幕戏写的是蔡文姬告别匈奴归往汉朝。舞台指示也极简单:“呼厨泉单于的大穹庐(等于王宫)。”开幕后“一对对侍女与仪仗队从两侧走出,继而右贤王与周近上场”。然而,焦先生从一入手就向舞美设计提出,这场戏是在一个“虚”的、“圆形”的单于王宫大穹庐里发生的,人物众多,表演区要求非常开阔;他依据“似与不似的统一;神似与形似的
At the time of commemoration of Mr. Jiao Juyin’s 80th birthday and the tenth anniversary of his death, he was quite touched by the re-appreciation of the second act of “Chai Wenji” directed by him. If we say “to be formal,” about this scene is really “going home.” This scene is written by Cai Wenji bid farewell to the Huns go to the Han Dynasty. Stage instructions are also very simple: “Hu Kut Spring in the sky (equal to the palace.)” After the opening “of a pair of maids and guard of honor came out from both sides, followed by the right Yin Wang and Zhou play.” However, from the very beginning, Jiao proposed to Wumart Design that the scene was a “virtual” and “round” event that took place in the Great Wall of the Royal Palace. There were numerous people and the demand for the performance area was very wide. According to " Like and not like the unity; similar and similar shape