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我于1952年冬,曾随我国文化代表团去蒙古人民共和国访问演出,在其首都乌兰巴托看到他们上演民族歌剧《三座山》,引起我极大的兴趣,产生了京剧移植《三座山》的大胆设想。归国后我提出这一设想,谁知一语出口,四座哗然,有人以为我在说笑话,也有人惊讶地说我是瞎胡闹,仅有极少数人表示赞赏。读者或问,移植一个剧目乃寻常事,怎会如此令人诧异呢?说来话长……京剧是高度程式化的综合艺术,无论是唱念做打均有一定的格式需遵循,它融汇了精美、夸张、虚拟以及技巧性、装饰性、象征性等诸多手法于一体。正由于有这许多讲究和处理上的严谨深邃,如表演现代题材的剧目仍墨守成规不敢变化程式或不探索新的适应方式无不捉襟见肘,甚至还会头破血流。因而当时对此,多数演员视若畏途,观众也很不感兴趣。我之所以热衷于搞《三座山》是因剧中人物的服饰与旗装相似,既便于演员表演也容易被观众接受。简而言之,我是有意识地为京剧上演现代戏铺路,并考虑京剧艺术在国际文化交流中也不能只有流出,而没有流入。
In the winter of 1952, when I visited the People’s Republic of China with my country’s cultural delegation and saw in their capital Ulan Bator that they staged the “Three Mountains” of the national opera, which aroused great interest in me, Three Hills “bold vision. After returning from China, I put forward this idea. There is an uproar in the exporters’ words. Some people think that I am joking. Some people even said that I was a nonsense in astonishment and only a handful of people appreciated it. Readers or ask, how can it be astonishing to transplant a repertoire? Long storytelling ... Beijing Opera is a highly stylized integrated art, The exchange of exquisite, exaggerated, virtual and technical, decorative, symbolic and many other techniques in one. It is precisely because of this many rigorous and profound handling, such as the show performing the modern themes still stick to the rules not to change the program or not to explore new adaptations are all stretched, and even be badly beaten. As a result, most of the actors were afraid of it at that time, and the audience was not very interested. The reason why I was keen to engage in ”Three Mountains" is because the costumes of the characters in the play are similar to the flags, which is easy for the performers to perform as well as the audience. In short, I consciously stage a modern opera for Peking opera and consider that art in Peking Opera can not only flow out but not inflow in international cultural exchange.