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剧本的呈现最终依靠的是演员的表演,常有“人保戏”一说,可见舞台表演的重要性。无论是斯坦尼拉夫斯基的体验派表演体系,还是布莱希特间离效果的表演体系,抑或以中国戏曲程式化表演为核心的梅兰芳表演体系,各有千秋,虽都是自成一派的表演风格,但却都明白过犹不及的道理,讲求情感外露与含蓄收敛的平衡。可目前国内一些话剧表演的一大陋习恰恰是忘了这个道理,一味追求过度的表演,夸张的表现。于是,舞台上出现了扭曲的
The presentation of the script ultimately relies on the performance of the performers. Oftentimes, “People Paul” states that the importance of the stage performance. Both Snyniewski’s experience-based performance system and Brecht’s performance system, or the performance of the Mei Lanfang performance system with Chinese opera program as the core, have their own advantages but are self-contained Performance style, but they have never seen the truth, emphasis on emotional exposure and subtle convergence of the balance. At present, some bad habits of some domestic drama performances just forget this truth, and blindly pursue excessive performances and exaggerated performances. As a result, the stage appeared distorted