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沈阳京剧院一团最近问世的大型新编历史京剧《康熙大帝》(卜维义编剧,陈家林总导演,李季明导演),以出手不凡、起点颇高的气度受到同行的注视和观众喜爱。该剧乍看之下,象一部韵昧浓郁的传统戏;稍加回味,觉得它处处富有新意。我想,这也许正是它的魅力所在吧。《康熙大帝》是作者在自己的原作《海隅归帆》基础上修改出来的力作。对康熙皇帝能否表现出其“大”来,成了该剧能否立得起来的扼喉之笔。在演出中我们清晰地看到,作者在“大”字上很是下了一番功夫。首先,对康熙这个人物的塑造表现出了深度的历史感。对这样一位勋绩卓著的帝王,作者没有单
Shenyang Peking Opera Theater recently released a large new series of historical Beijing Opera “Emperor Kangxi” (Bu Weili screenwriter, director Chen Jialin, director Li Ji-ming), with a very good start, a high degree of tolerance by peer attention and audience favorite. The play at first glance, like a rich traditional drama; a little aftertaste, it is full of new ideas everywhere. I think this may be the charm of it. “Emperor Kangxi” is the author’s masterpiece in his original “Haifu to sail” based on the revised masterpiece. Whether Kangxi’s emperor can show its “bigness” has become the key to the drama’s standing upright. We clearly see in the performance, the author in the “big” is a lot of words on the effort. First of all, it shows a deep sense of history to the characterization of Emperor Kangxi. For such a distinguished emperor, the author has no single