论文部分内容阅读
在一个时期内连续观看了张曼君导演创作的五个优秀现代戏曲剧目,即河北梆子《晚雪》、秦腔《花儿声声》、黄梅戏《妹娃要过河》、采茶戏《八子参军》、晋剧《大红灯笼》。这五个优秀现代戏所取得的导演艺术成就是多方面的,如舞台形象的完整性、人物形象的鲜明性和戏剧节奏的现代感。在这里我想重点谈谈张曼君导演对于新歌舞元素戏剧化的贡献。在观看这五出剧目时
In a period of time, he successively watched five excellent modern drama repertories written by director Zhang Manjun, such as Hebei Late Son’s Late Snow, Qiangqiang’s Voice of Flowers, Huangmei Opera’s sister baby crossing the river, “Red Lantern.” The achievements made by the directors in these five excellent modern shows are manifold, such as the completeness of the stage image, the vividness of the characters and the modernity of the theater rhythm. Here I would like to focus on Zhang Manjun director of the new song and dance elements of the dramatic contribution. When watching these five repertoire