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舞台的“真实”绝不等同于生活的真实,这已是一个舞台艺术创作中的常识性问题。舞台艺术的表现要遵循这样的创作原则,充分运用艺术表现的手段,以虚实结合的手法创造出能使观众想象、回忆、联想的艺术形象,达到与观众共鸣的艺术境界。 意境推动了创作者与欣赏者的精神交流,它的产生同艺术表现中的虚实结合的巧妙运用密不可分,优秀的艺术家在创作实践中都运用了虚实结合的手法。明朝画家徐渭画《驴背吟图》是用水墨写出人物与树的影子,用扭曲的线段画驴的四蹄,不写实,却令人感到驴从容前驰的节奏,仿佛听到蹄声滴答,使得画面愈加生动而具生命力,扩大了作品的意境。戏曲舞台更是多采用虚实相生的手法去表现大千世界的真实景象。舞台不设置逼真的布景,
The “reality” of the stage is by no means equivalent to the reality of life. This is already a common-sense question in the creation of the stage art. The performance of stage art should follow the principle of creation, make full use of the means of artistic expression, create the artistic image that enables the audience to imagine, recall and associate with the combination of the actual situation and the realm of art that resonate with the audience. Artistic conception promotes the spirit exchange between creator and admirer. Its production is inextricably linked with the clever use of the combination of the actual situation and the artistic performance. Outstanding artists all use the combination of the actual situation and the actual situation in their creative practice. Ming dynasty painter Xu Wei painting “donkey Yin figure” is to use ink and water to write out the characters and the shadow of the tree, with a twisted line drawing donkey’s four hooves, not realistic, but it makes the donkey calm ahead rhythm, as if to hear the hoof Ticking, making the picture more vivid and vitality, expanding the artistic conception of the work. Opera stage is more use of the actual situation to show the real world scene. Stage does not set realistic scenery,