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以“墙”为造型切入点。七块“墙体车台”的运动和不同组合,构成直观和虚幻的写意空间。以造型语汇参与体现和升华作品主题。全剧在墙体的流畅运动组合中进行,石狮和下马石象征相府和吴府的大门;挂树和竹子隐寓相府的华贵和吴府的清高;西墙的垮塌和重建假定在观众席里。既解决了虚与实的矛盾又便于演员面向观众表演;县官的窘难处境在两个墙体的对立和对他的挤压运动中得到直观形象的表述。
To “wall ” as the modeling entry point. Seven “wall car ” movement and different combinations, constitute an intuitive and unrealistic freehand space. Participate in stylistic vocabulary to reflect and sublimate the theme of the work. The whole play is carried out in the smooth movement of the wall. The lions and dismantled stone symbolize the gates of the Shogun and Wu prefectures. The hanging trees and bamboos hide the richness of the Shogunate and the rise of the Ngofu. The collapse and reconstruction of the Western Wall are assumed to be spectators Xi Li. It not only solves the contradiction between virtual and reality but also helps the actors to perform for the audience. The embarrassment of the magistrate is expressed in the visual image of the opposition of the two walls and of his squeeze movement.