论文部分内容阅读
20 0 1年 4- 5月 ,民谣清唱史诗剧《鲁迅先生》在北京儿童剧场隆重上演。张广天担任编导、作曲和主唱 ,该剧采用全新的形式 ,将 35 mm电影、木刻效果的动画、现代民间音乐、传统管弦乐队、民间曲艺以及话剧朗诵等多种因素融汇贯通 ,在拓宽了的舞台观演空间中 ,一反 80年代以来消解鲁迅的思潮 ,重新塑造了“从启蒙到革命”的鲁迅形象。像张广天参与主创的史诗剧《切·格瓦拉》一样 ,《鲁迅先生》的演出在文艺界、思想界引起了广泛争议 ,围绕该剧的主题思想和艺术形式 ,不同立场和观点的人们在不同场合展开激烈交锋。这些交锋绝不限于对一部戏剧作品的评论 ,而且深刻而鲜明地呈现着思想的分化和时代的分歧。本刊选择其中有代表性的文章集中发表 ,希望引起读者的关注。
From April to May in 2001, “Lu Xun”, a folk singer’s epic drama, was staged at the Beijing Children’s Theater. Zhang Guangtian is the director, composer and lead singer. The drama takes a brand new form and integrates a variety of factors such as 35mm movies, woodcut animation, modern folk music, traditional orchestra, folk art and drama recitations. In the stage performance space, Lu Xun’s ideological trend of dispelling Lu Xun since the 1980s has reshaped the image of Lu Xun, “From Enlightenment to Revolution”. Like Zhang Guangtian’s epic drama Che Guevara, the performance of “Mr. Lu Xun” has caused a wide range of controversies in the literary and art circles and ideological circles. People around the theme and artistic forms of the play, different positions and opinions, Fierce battle on different occasions. These confrontations are in no way limited to commentary on a dramatic work, but are also profoundly and distinctly showing the division of thought and the disagreement of the times. Selected publications of these articles focused on the publication, hoping to arouse the reader’s attention.